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Imprimatur.

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Liber hie cui T itulus ( A Parallel of Archi-
teHure the Antique with the Modern ) uc quod
melius eft eligatur.

Ex &dib. Lambe-
thorns Nov, 21. 16630

f. Frond ^ S. T. T. ‘fyveren*
diJTimo in Chrifto Tatri , ac
Dom . Dow. Gilb. Archi-Ep.
Cantuar. a Sams Domejlicis.

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CHITEC THEE

BUXHE ■

CIENT XMOMRNE

yn

ROLAND freaet.e:de CEAMBRAT

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OF THE

ANTIENT ARCHITECTURE

WITH THE

M ODER N.

In a Collection ofTVw Principal Authors who have written upon the

Five Orders,

PALLADIOandwD.BARBAROahd vBULLANT and

JCATANEO, QDELORME,

a L. B. ALBERTI and^ A Compared with onean-
fVIOLA^ jC other.

The three Greeks Orders , D o R i Q.u e, Ion i q.u e, and Corinthian,

comprifc the Firft fart of this Treatife.

Vi^

jSCAMOZZI
\SERLIO and
VIGNOLA,

Written in French by ROLAND F RE AR1\ Sieur de Chambray ;
Made Englijh for the Benefit of Builders .

To which is added an Account of Architects and Architecture , in an Hijlorical, and Etymological
Explanation of certain Tearms particularly affe&ed by Architects.

With Leon Baptijla Alberti's Treatife of S T A T V E S.

LONDON, Printed by 7 ho* Roy croft, for 'John Place, and are to be fold at his Shop
at Fvrnivals-Tnn Gate in Bolborn , M DC L X I V,

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I

I N € E the Great Auguftus vouch *
fafed to patronize a W ork 0/ this na¬
ture which was Dedicated to him by Vi¬
truvius ; I had noreafon to apprehend
Tour Majefty would reprove thefe Addrefles of
7tiiney if in prefenting Ton with thofe Antiquities on
which that excellent Matter form’d his Studies, I
intituled Tour Majefty to a Work fo little inferior
to it , and fo worthy to go in paragon with it. And
indeed to whom could I more aptly Infcribe it? a Di-
fcourfe of Building, than to fo Royal a Builder *
whofe augujl attempts have already given fo great a
fplendor to our Imperial Gity, and fo illuflrious an
Example to the Nation ! It is from this contempla¬
tion Sir, that after I had ( by the Commands of the
t i a 2 Royal

The Epistle

Royal Society ) endeavour'd the improvement of
Timber, and the planting of Trees , I have ad¬
vanced to that 0/Building at its proper and natural
confequent: Not with a preemption to incite , or
inferudl pour Majefty, which were a vanity unpar¬
donable ; but by it to take occajion of celebrating Tour
Majefties great Example, who ufe Tour Empire
and Authority fo worthily , as Fortune feems to
have confuted her reafon when jhe poured her fa¬
vours upon Tou ; fo as I never cajl my Eyes on that
generous Defignation in the Epigram

. i- ...

Crefomfl-e0^arePaft'ropes — -ut donem, Paftor,& <edificem.

Propter quod vulgus3crafla-
que turba rogat?^.

Eft fyderateftor.ruperos>ac without immediate reflections on Tour Ma-

Efto°r)&^difi“ra°nemjPa' jeffcy, who feem onely to value thofe roy~

Man. Ep. i. 9. ai advantages you have above others y but

that you may Oblige, and that you may Build.

And certainly , Sir, Tour Ma jefly has confuted the
nobleft way of eflablifhing Tour Greatnefs, and of per¬
petuating Tour Memory; fence, whilefe Stones can
preferve Infcriptions , Tour Name will be famous
to Pofterity, and when thofe Materials fail , the Be¬
nefits that are engraven in our Hearts, will outlafe
thofe of Marble. Tt would be no Paradox , but a
Truth, to ajfirme , that Tour Majefty has already
Built and Repair’d' more in three or four Tears
( notwithfeanding the difficulties, and the neceffetie of an
extraordinary Oeconomy for the publicfe concern¬
ment ) than all Tour Enemies have dep'oy’d in

T wenty \

Dedicatory.

T wenty ; nay then all Tour Majefties Predecejjors
have advanc’d in an Hundred, as I could tafily make
out-, not only by what Tour Majefty has fo magnificent¬
ly defignd and carried on at that Tour antient Honour
of Green- Wich, under the conduft of T our mofi
indujlrious and worthy Surveyor ; but in thoje Splen¬
did Apartiments, and other ufeful Reformations fot
fecurity and delight, about Tour Majefties P abaci
at White-Hall; the chargeable covering, firft
Paving and reformation of Weftminfter-Hall ;
care, and preparation for Saint Paul’s, by the impiety
and iniquity of the late confujions almojl Dilapidated 3
With what Her Majefty the Queen Mother has
added to her Palace at Sommerfet Houfe in a Stru¬
cture becoming her Royal grandeur, and the due venera¬
tion of all Your Majefties Subjeffs for the honour Shp
has done both this Your native City and the whole Nati¬
on Nor may I here omit ( what I fo much defire to tranfmit
to Pofterity) thoje noble, ana profitable amaenities
of Tour Majefties Plantations, wherein Toumoft re-
femble the Divine Architect ; becaufe Tour Maje¬
fty has propofedinit fucha Patterns Tour Subjects,
as merits their imitation , and profoundefl acknowledg¬
ments , in one of the mofi worthy , and Kingly Improve¬
ments that Nature is capable of. I know not what
they talfof former Ages, and of the now contemporary
Princes withTour Majefty ; Thefe things are via¬
ble ; and fhould I here defcend to more Particulars,
which yet were not foreign to the fubjeCt of thisDti-
courfe, I would provoke the whole World to produce

The Epistle

me an Example parallel with Tour Majefly, for
Tour exadl judgment , and mervailous ability in all that
belongs to the Naval Architecture, both as to its
Proper tearms, and more folid ufe, in which Tour Ma-
jelly is Mailer of one of the moft noble , and profitable
Arts that can be wijhed in a Prince, to whom God has
defigtid the Dominion of the Ocean, which renders
Tour Majefties Empire Univerfal; when by exer-
cifjng Your royal talent , and kpowledg that way , You can
bring even the Antipodes to meet , and the Poles to
kifs each other ; for fo likewife (not in a Metaphori¬
cal, but natural fence ) Your equal and prudent Go¬
vernment of this Nation has made it good, whileft
Your Majefly has fo profperoujly guided this giddy
Bark through fuch a Storm, as no hand fave Your
Majefties could touch the Helm , but at the price of
their temerity. But to return to that of Architecture
again ( for it is hard not to Hide into the Panegyric,
when once one begins to fpeak „ of Your Majefly ) lam
witnefs not only how pertinently You difcourfe of the

Art, but how judicioujly You contrive ; and as in all
other Princely and magnificent things Your Notices
are extraordinary , fo I cannot but augure of their ef¬
fects, and that Your Majefly was defigtid of God
for ablejjingto this Nation in all that can render it hap-
py , if we can have the grace but to difcern it , and be

thankful for it.

This is , Sir, the glorious Idea which I have con¬
ceiv'd of Tour Serene Majefly, and which I propofe

Dedicatory*

for as emulous an Example as any Age has hitherto
Produc'd ; nor can there any thing be added more , but
that permanency which the reft of Your Virtues do
promt fe us : If fuch were thofe glorious Hero’s of old ,
who firjl brought Men out of VVilderneftes into
Walled and well built Cities, that chafed Barbarity,
introduced Civility, gave Laws to Republiques ,
and to whofe rare Examples and Industry we are
accomptable for all that we pojfefs of ufeful in the Arts,
and that we enjoy of benefit to the Publique ; how
much caufe have We in thefe Nations torejoyce , that
whilejt Your Majefty purfues thefe Laudable Under¬
takings, that Race ofDe my-Gods is not altogether
extinfi ! And if after the fupport of Religion, and
the eftablifhment o/Laws, the Perfection of Sciences
be the next in order to the Well-being of a State , This
of Architecture ( as one of the moft beneficial, and
ufeful to Man-kind ) ows her renafcency amongft
Us to Toz/rMajefties encouragements , and to as ma¬
ny of thofe Illuftrious Perfons as by their large and
magnificent Structures tranfcribe Your Royal Exam¬
ple *, in particular , my Lord high Chancellor of
England, my Lord high Treafurer, and my Lord
the Earl of Saint Albans, whofe memories deferve
this Confecration ;

I have now but one thing more to fpeap. Sir, and
that is for the reputation of the Piece I prefent to
Your Serene Majefty* It is indeed a T ranflation ;
but it is withallthe marrow and very fubftance of no

The Epistle, Prc.

lefs than ten. judicious Authors, and of almoft twice
as many the moft noble Antiquities now extant upon
the bofom of the Earth ; ’twere elfe a difficult Province
to conceive how one fhould entertain Tour Majefty
without a Spirit and <2 Subject worthy Tour applica¬
tion. There is fomethingyet of addition to it , which
is new, and of mine Own ,the defeSls whereof do fup-
plicate Tour Majefties pardon ; to fay nothing of the
difficulty of rendring a V V ork of this nature intel¬
ligible to the vulgar, and not unworthy the Stile of a
Gentleman ; feeing it is not the talent of every one
who underftands a Language , unlefs he alfo under¬
hand the Art ; But thefe may feem to defer to my own
Glory, which is confpicuous in nothing fo much, as
in laying it at Tour Majefties Feet, and the permiffi-
on of ufing that Sacred Name to protePi

Says-Couri
20. Aug. 1664..

SIR,

Your Majefties ever loyal,

moft obedient, and

faithful SubjePi

J. E v E L y n.

S JOHN DENHAM,

KNIGHT

OF THE

HONOURABLE Order

OF THE

B A T H,

• > ' , / t •: r .

Superintendent and Surveyor

' v ’ - •* ■; JOS? 'I ~ui , -V.- * ■ ■ ’

OFHIS ^ v

MAJESTIES
BVILDINGS and ‘WORKS.

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T is now fome ten years fince, that to gratifie a
friend of mine: in the Qountry , I began to inters
pret this ‘Parallel ; but other things intervene
ing,it was lay’d afide^nd had fo continu’d with¬
out thoughts of reafumption, had notthepaffi-
on of my worthy Friend M r* Hugh May
to oblige the Publicly and in commiferation of
the few affi fiances which our Workmen have of this nature (com-
par'd to what are extant, in other Countries) found o^t an ex¬
pedient, and by procuring a moft accurate Edition of the Plates ,
encourag’d me to finifh what l had begun ; and to make a will¬
ing Prefent of my labour and of whatever elfe 1 was able to co%
tribute to fo generous a defigne*

*b Sir,

The E p i st l e

Sir, I am not to inftrud: you in the merits and ufe of this ex¬
cellent Piece • but it is from your approbation and particular in¬
fluence, that our JVorkpnen ought to efteem it, and believe me too
when i affirme it : That the Ten Authors in this Ajfembly, which
compofe both fo many, and (for not being vulgar) unintelligi¬
ble Volumes , will neither afford them fo full inftrudtions in the
Art , nor io well inable them to judg, and pronounce concerning
the true Pyles and 'AALaximes of it as this one little y but incom¬
parable, Collection. You well know, that all the mifchiefs and ab-
furdities in our modern StruBures proceed chiefly from our bufie
and ( jotic triflings in the Compofitions of the Five Orders • and
that an able U^orfynan, who is after of his A*, and has a true

relifii indeed, carries on all his undertakings with applaufe and
fatisfadtion : That there is not in the whole Catalogue of Authors
who have W ritten on this Subject, a more fafe5expeditc and per¬
fect guide than this Parallel • where, from the nobleft Pymaines
of Antiquity accurately zfALeafur'd, and perfpicuoufly Demon -
firatedy the Pples are lay’d down ; and from a folid, judicious,
and mature companion of modern Examples , their Srrours are de¬
tected ; fo that were but a little more pains taken by our young
ArchiteBs and their Suhfidiaries , about the eafier Principles of (yc-
ometriey the Pudiments of PerfpeBive , and a ready addrefs of well
Defigningy we might by the converfation of this Author alone,
promife our Country , and the Age to come, a miraculous improve¬
ment of thtir Puddings in a fhort time. Nor would this be in
the leaft, to the augmentation of their expenfes j fince there is
nothing cofts dearer, and difpleafes more, than our undigefted
contrivances, and thofe intolerable defedls which we have enu¬
merated. It is from the afymmetrie of our Buildings y want of
decorum and proportion in our Houfes, that the irregularity of our
humors and affeBions may be (hrewdly difeerh’d : But it is from
His <lS? Vfajefiies great Cjenius , and the choice he has made of fuch
an Injlrument) that we may hope to fee it all reform’d ; it being in
fo worthy an imitation of that magnificent 8mperour> that touch’d
with the like indignation at the Encroachments and Deformities of
the publick Edifices and fVaies , caufed a like reformation alfo •
fo as we may now affirme of London , as the Poet once o fPome,

Dedicatory.

P\£unc Roma eft , nttpermagna taber~
na fuit .

that it now begins to have the face of a Ci-
tie indeed. And truely it is an improve¬
ment fo extraordinary which it has re"
ceiv’dfince His Majefties gracious influ“
ence upon it, thatfhould 1 have beenfi-
lentof His praifes , I might juftly appre¬
hend mox lapides clamdturos , that the very
Stones would cry out and become vocal :

But neither here tnuft 1 forget what is a- 7onfur > Ca“p°> coquus, Lanins fa
lone due to you dir for the reformation of Nnnc Roma ^ miper magncl u,
a tboufand deformities in the Streets , as by
your introducing that incomparable form
of Taking, to an incredible advantage of
the Public when that which is begun in
Holborn (hall becom univerfal, for the fa^

Abflulerat tot am temerdrius in fa
tor urbentj

Inque fa nullum limine limen
erat.

JujJijli tenues Germanice , crefcere
vicos 5

Et mo do qu<c fuerat fernita 0 faff a
ria eft.

Nulla eaten at is pi l a eft preecirMa
lagems 5

Nec Prxtor medio cogitur ire
Into.

Stringitur in denfa nec caeca novacu-
la turba ,

Occupat aut totas nigra popina
vias.

berna fuit.

Mart. Lib. 7. Epig. 60.

The particulars of that reformati¬
on in Rome fo much refembling
rohat His Majefty has commanded
for the cleanfng , and enlarging
• r rr/i ii/"* 1 r Streets 3 the demolition of

vmgof wheels and Carriages , the cure of Bulks, and other obftacies, that
noyfom Q utters, the deobftruBion of En - E^m thc a r

counters , the difpatch of cBufinefs , the clean -
nefs of the Way, the beauty of the ObjeB, the eafe of the lnfirme, and
thc preserving of both the Mother and the Babe - fo many of the
fair-Sex and their Ojf-Jpring having perifh'd by mif chances (as I
am credibly inform'd} from the ruggednefs of the unequal
Streets , &c.

But 1 know not Sir, how thefe Inftances may be relifh’d and
valu'd amongft the vulgar , nor am 1 much folicitous ; fure 1 am,
that more has been done for the Ornament and ‘Benefit of the Pub -
lich^ in two years time, that your Self ^ with the Comiffioners who
undertook the InfpeBion , have a<£ted, then inyJW hundred before:
They were not a foolifh or impoliticly People, who from the very
Principles of humanitie , deftin’dfor the eafe of their SubjeBs, fo
many fpacious jVaies , cool Fountains , fhady Wallis, refrefhing
( gardens , and places of publick Bg creation , as well as (lately P c tu¬
ples, and Courts of fuftice, that Beligion and the Laws might be
publilhed with the more pomp and veneration: And if his Ma-

The Epistle, he

jejlji, with your pains and induftry, hath contributed to fometbing
of all this , it is that for which the whole JA (ation becomes obli¬
ged; as the promoting of fuch public^ and ufeful Works ('and
efpecially that of ‘Building) a certain Indication of a prudent
(governments of a flourifhing and happy Teople : So that if there re¬
main but one thing more to be defir’d in order to th tffonfummation
of its perfect felicity • how infinitely were it to be mfhed , that
whileft the beautie and benefit of the Qty increafed in one part, the
Deformity and apparent Buine of it might ceafe on the other: But
this we are to hope for, when, to bring this monftrous Body into
fhape, and fcatter thefe ungovernable enormities , either the re¬
fir aint of Building irregularly fhall polifh the Suburbs jOrCwhich
1 rather could wifh) fome royal Turchafe contract and demolifh
them. But Sir9 I have done, and I know you will pardon this
Zealand accept of this expr«fTion of my profound refpe&s from

5 I ^

Servant

J. E v E L Y N

'HI"

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Ami co optimo & Chariflimo

JOHANNI EVELYNO Armig.

E. Societ. Regali Lond. Sec.

J O. B E A L E S. T. T>.

In ARCH IT E CTV R A M abipfo Anglice redJitam is

Graphice exornatam .

L-J Effulferefhitos difeutiente Deo0

Hortus erat primus : T unc Teffajk. Mceniafk. Vrbes g
Tandem Sc Pyramidum nobiJefurgit opus.

Hie aliquis molem Tub jungit : In aere pendet
Hortus j 8c unde venit, quxrere jure licet.

Nec fatis eft vitam ducamus in Arce beatam
Qualem agit^etherea Juppiter ipfe domo,

Sed Talis fuperefle juvat poft funera longa,

( Quamvis hie cineres urnula parva capit)

MauJbUa exin ccelos ta&ura fepulchra
Inferiptum Her bis nomen ad aftra vehunt.

Stat quoque3 ft favit Vidoria; grande Trophmm 3
Attollenlqueapicem tunc Obelifcus ovat.

Mox fpirare trucem poteris jurare Coloffvm,

Sic movet, ut trepident,8c mihi membra labent.

Sunt quibus excidium laudi eft3 Sc lata ruina 5
Atqui exornandi gratia major erit.

Parcite Mortales^ Famam prohibete Nepotes 3
Ni feelus in caufa deteriore cadit.

Sunt quoque T<enariis quibus eft fuffulta columnis
Alta 8c larga nimis5 led minus apta domus :

Sumptibushic turgent operola palatia vanis 3
’Materia exuperat 3 fplendor3 8c ordo deeft.

Ec ceAvibus nidoSj Apibus compingere cordi eft,,
Paftor Ariftaus quos ftupet ipfe, favos.

Aurea fic textrix fubter laquearea Arachne
Divini Artificis provocat ingenium.

Hojpitium fibi quoque parant animalcula gratum 5
Solus Homo impends ple&itur ipfe fuis.

Machina quid prasftet Thufcis tradanda peritis,
Angligenee ut difeant3 Clare Ejvelyne,t facis.

Nec tantum debent Volfao priftina fecla3
Quantum debcbuntpoftetioratibL

Creditur Amphion molimina laxea quondam
Thebarum in muros concinuijje Lyra :

Tu Saxa, 8c Sylvas ( nam fic decet Orphea ) pleftro
Aurato in Regum Tcffa coire doces.

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I

To my mod Dear Brothers

JOHN FREARTEfq-

SIEUR DE CHANTELOU
COUNSELLOR to the KING

AND

PROVINCIAL GOMMIS SARIE

in Champagne Alfatia Lorraine and (je many.

AND

PAUL FRE ART%

SIEUR DE CHANTELOU
COUNSELLOR and MASTER

of the H0USHOLD in ORDINARY to the KING.

My Deareft Brothers,

7 is by your commands , that I have finiffjed this Treatife of the Antient
Archite&ure compared with the Modern , which I had altogether layd
afide ■, and even effac’d out of my mind fnce the deceafe o/Monfeigneur
De Noyers to whom I had devoted it , a* to the Mecrnas of the Age,
and more particularly, for being indeed the true Authour of thus Book ;
fince I had never taken it in hand but by his fpecial Order, and to afford
him fome little entertainment during his Solitude of Dangu, where, he was pleafed, and in¬
deed defired. , I flaould follow him after his retreat from the Court , there to enjoy with him
that fweetneft and tranquillity of life, which we were never before acquainted with during
the time of his being Minifter 0/ State. But this bleffed leifure, and which you fo often con¬
gratulated, was quickly interrupted by I know not what unlucky Genius, and by an intern -
peftive and precipitous death, which foon extinguifht this glorious light of Vertue. In this
great loft ( which was, my dear Brothers, common to us all, fince we all had the honour to be

A 2 related

The Epistle.

related to him both by our fervices and birth j I onely had the affliction to be prefent at the
lugubrom Objedy and to behold it with mine eyes . This hat often caus'd me ferioufly to re-
fled upon the vanity and volubility of the fortunes of the Court, of which I am now fluffed -
ently difabusd: For confidering that fo rare a Perfonage , the greatefi Minifter, the mod
disinterejT dy mod laborious, mod fuccefifuf of fo extraordinary and approv’d a Probity ,
fo univerfal in all forts of excellent qualities , andy in a wordy fo extraordinary after a
twenty years fervice and employment in the greateft Offices of Statey that a Subjed ( I fay )
of fo great merit ftmld come to conclude hit dayes in the Country like an Exile : I confefty
my dearefl Br other s, whilfe 1 think of thiSy all things appear fo tranfitory and uncertain in
Greatnefy that I find the Retreat of the difgrac'd ( provided they are honeft men ) infinitely
preferrible to their Favour . Could Merit and confiderable Services have for ever fixt

and efiablifb'd a man at Court, or been a rampart againfl that envy and jealoufiey which
are the immortal enemies and pefis o/Vertue, unhappily reigning in that Climat: The
late Monfeigneur de Noyers was the mod worthy to have finifhd his dayes glorioufly in his
high Employments ; fince he alone performed morey in lefs then ten years fpacey than all his
Predeceffors together had done in an hundred ; whether we have regard to Works which
are neceffary for the Confervation and good of the State, or confider Thole onely which gave
fplendour and magnificence to the Kingdom. It is not my defign to repeat them here for
your infer ud ion , becaufe you know them much better then my felf ; Onely that I may leave
feme Memorials to the Publique, I fljall mention a few of them. It may be affirm’d in ge-
neraly that he had in his time exalted the nobled Arts to the fupreamed degree of Perfedion
that was ever feen in France: as Archite&ure Civil, and Military ; Painting,
Sculpture, and Printing which he then made truely Royal when he lodgd it at the
- Louure ; the very fird Produdions whereofy were not onely unparallel d Mafter-pieces ,
buty as one may fay7 Libraries compleat ; for in two years there were publijh'd threefcore
and ten great Volumes, in Greek, Latine, French, and Italian ; from one part of whichy
one may judge of the refty viz. that general Colledion of all the Councils, feet forth in feven
and thirty Volumes, which is certainly the mod nobky modufefuly and royal Work that
ever faw the light to this hour : This incomparable Stamp was accompany d with ano¬
ther very rich oney I mean the new Money, which Monfeigneur de Noyers plac’d alfo in
the fame appurtment of the Louure, that he might allye together two of the mofi univerfal
and mod permanent Monuments o/Kings, fpreading ihemfelves over all Nations, and re¬
maining for fo many fucceffeons cf Ages. The excejfive abufes which were found in the years
1638, and 1639, both in the title and weight of the greated part of the Moneys as well of
this Kingdom as of otherSy which had almod all of them been chang d or disfiguf dy flood
in need of this excellent man to reform themy whofe affedion and zeal to the Publique might
produce fo extraordinary effeds : But as it wasimpoffible to remedy it on the fudden without
putting Commerce into very great diforder , he, from the illcourfe of thofe Moneys which
for feme time they were forced to connive aty well knew how to derive the greatefi advantages
of State, and mod fignal honour to the King. And in effedy twos none of the leafi pieces of
Politiques, to permit and even author ife this abufe by an Edift, which could not elfe have
been fo eafely oppos’d ; whilft in the mean timty it invited the People of the neighbouring

States

The Epistle.

’ T ' ‘ . ; C * , . ' f ■ *,

States in hopes of gain, totranjfort into France all the light Gold and Silver which they,
had, and which remain'd there by reafon of its being decry d a few months, after, bearing now,
the Armes o/France, with the Name W.Effigies of Lovis le Jufte, by that mb le con- -
verfeon which he order'd to be made of it. Whit ft thus ftrange Matter was uniting to ours ,
he fought out and difcover d prompt and eafie expedients of giving it that excellent Form
which it now bears, curing at the fame inftant, and by the fame remedy, both tbeprefent in¬
convenience, and that to come : Thus- we fee,that its juft and equal roundnefi, the Grenetis
or graining which is about it, and the Politure which is on the flat of every piece , not ontly
defends it from the Clipping, the File, and operation cf Strong-waters, but even renders its
imitation in a manner impofftble to our falfe Coyners ; fo as one may affirm of this Money, that
it is themoft artiftly contriv'd, and the mob} commodious, that ever was ufed in Commerce.
He caufed tobecoyned in left then four years above an hundred and twenty Millions, and
that after fifteen or fexteen years that the Warr had lafted, and the State feemd to have been
utterly exhaufiedby the great and continual expences which were inceffantly made, laid out
in fortifying of places, paying of Armies, and the affeftance of the Allies of the Crown. At
the fame time was the Louure feen to augment, and the Royal Houfe cf Fontainebleau,
which owe not onely apart cf their Ornaments to the carecf this great Minifter, but their con- -
fervation alfo and abfolute reftauration ; fence but for him. , they had been at prefent but
one vaft mine , a very Carkajl of building, defolate and uninhabitable : The Cafiles cf S.
Germains and Verfailles, which were then the ordinary refedence and delices of the King,
carry on them feme marks of the fame hand ; The firft by the Conftrubiion of the noblefl Sta¬
bles and Manege which is in France, with divers other accommodations necejfary for the
lodging of a Royal Court ; and the other, by a Terraffe de Grefferie, which is of the kind
an incomparable work, with a Circle of an hundred and twenty yards diameter/ But
whilfl he thus worthily acquitted himfelf in the charge of Superintendent of the Royal
Houfes and Buildings (/France ( with which the King was pleas d to gratifie him for four
or five years') he employ'd in the mean time his chief eft cares for the fafety and enlargement of
^Kingdom, difpencing all neceffary Orders for the Armies both of Sea and Land ; pro¬
viding and furniftnng the Magazines and Garrifons of Places, and a good part of the
Provinces : But as things ufeful and neceffary are to be preferr d before fplendour and mag¬
nificence, he firft began with Military Architecture which he caufed to march before the
Civil : All our Frontiers are full of his Works ; In Picardy the Port-royal of Calais,
compos d of two of the greatefi Baftions of Maffonry, the moft regular and noble that are
in Europe / all the Fortifications of Ardres ; moft of the Baftions of Peronne, of S*
Quentin, of Vi m, o/La Fere,Dourlans, Amiens, and /Montreuil, efpecially an Horn-
work alfo of Maflonry of extraordinary beauty, and magnitude ; hot to omit that half Moon
of Abbeville, where the Inhabitants not prevailing with him to have his Armes fit on it,
in acknowledgment of the favour which they had by this means received (permitting it in no
place built by him, from a particular fentimentof honour to the King, and out cf a moft fen -
gular modefty ) planted two rows of Walnut-trees, that under that Pretext they might call it
by his Name: & Champagne, thcFortrefe of Mount Olympus, which ferves Charleville
for a Citadel ; fever al other Works at Stenay, at Mezieres, Mouzon, and Rocroy,

then ,

The Epistle.

Theft-, in Lor rain, the Citadel of. Nancy; the Places de Vic, Moyenvic, and of Marfel.
In Normandy,Havre de Grace ; where (befides the Fortifications of the Place') he excavated
a large Bafin of Mafons work in the Port, of near two hundred yards long , and above fix-
fcore wide, to contain Veftels always afloat : Alfo at Brouage in the Ifles of Xdin&onge, which
are two maritime Keyes of the Kingdom. In Italy, Pignerole, and all the new Forti-
cations of Cazal. Now for works and curiofities of V dinting and Sculpture ( which are as
’twerethetwo Sifters of the Art I am now going to treat of) it would require a large dif-
courfe to particularize them one after another ; befides that , one could not well do it , without
a little reproach to our Nation, which (by reflecting on the fudden cejfation of fo many excellent
things) one would alrnod believe had but one onelyperfon capable cf thofe rare Productions.
It fhall fuffice then to fay in general , that he made the Louure the Center of the Arts whofe
concourfe thither in a few years began to render it the mod noble and magnificent Structure of
the World. It was for this glorious Vefign , and for the decoration of other Royal Houfes,
that the famous Monfieur le Pouflin had the honour to be fent for by the King at the begin¬
ning of the year 1 640 . It was then that the late M. de Noyers difpatch'd us, You and my
Self ( dear Brother ) towards his Holinefs about an important affair , with order at our re¬
turn to make way for France to all the greated Vertuofi of Italy ; and as he was their
Load-fione , we eafely drew a confiderable number after him , whereof the Chief was that re¬
nowned and fingular Painter M. le Pouflin, the glory of the French in his Profeffion , and,
as it were , the Raphael of our Age ; To this effebi we likewife ufed great diligence to get
made , and colled together all that the leifureand the opportunity of our Voyage could furnijh
us cf the mod excellent Antiquities, as well in Archite&ure as Sculpture ; the chief pieces
whereof were two huge Capitals, the one of a Column, and the other of an angular Pilafter
from within the Rotunda, which we chofe as the mod noble Corinthian Models remain¬
ing of Antiquity : Two Medails of eleven Palms diameter , takgnfrom the Triumphal Arch
efConftantine ; threefcore and Bas-reliefs moulded from Trajans Column, and fever al
other of particular Hiftories ,fome of which were the next year cad in Brafs ; others were
employed in manner cf incruftation about t^Compartiment of the arched Cieling of the
Louure great Gallery, in which M. le Pouflin modingenioufly introduc'd them , and that
with an extraordinary addrefi and confederation^ to anfwer a certain defign which was then
requir'd of him , not as the mod magnificent , and fuperb he could have compos'd ; but for an
Ornament which ft.rnld be ffeedily executed. and of moderate cod , with regard to the time
and the impatient humour of our Nation. A little while after that , you returned ( my dear
Brother) to obtain the Popes bleffing of the two Crowns e/Diamonds, and the Golden Babe
carried by an Angel, which their Majefties fent you to prefent our Lady of Loretto in acknow¬
ledgment and as a token of gratitude which they rendred to ^Virgin for the mod happy and
almod miraculous Birth of our Daulphin, the King which now reigns ; Tou continued to have
divers figures and Baft-relievo’s wrought off. \ particularly the Flora and the Hercules in
Farnefe’s Palace, of which there is now one caft at Paris .* Two other Medails from the
fame Arch of Conftantine, and both the Coloftes of Montecavallo with their Horfes, the
greated , and the mod celebrated works of Antiquity, which M. de Noyers defigned to have
alfo caft in Copper , to place them at the principal Entry cf the Louure . Tou behold the fplendor

which

The Epistle.

which all this great Provifion made in Rome, and how every body wonder d that the French,
who were till now renown d onely for their valour and invincible courage in Warr, and feernd
to be aftetted onely to the Arts Military, fhould flacw fo much paffion for Thefe which af-
fum'd the reputation of being the mo ft glorious , by a Prerogative above others ; as if the He-
mifphere (/France had been lately chang d, and Mercury in conjunction with Mars began
now to pour down new Influences upon her. For my own part , I can tejlifie how the report of
it fpread as far as Conftantinople, whither Fame had born the name c/Monfeigneur de
Noyers with fo much glory, that the Patriarch of that renowned City writ him Letters/////
of profound admiration, which he addrefi'dto Monfleur de Villeray,^ Noble Athenian
Refident in France for the Duke of Parma, delivering them to my Lord at Dangu after
his Retreat from the Court, and where I have had and kept them a great while , and read
them to fever al of my Friends . They take notice chiefly, how new and unheard of a thing it
was that there fhould be found a Grand Vizier of our Nation fo tranfcendent in all excellen¬
cies ; of which fome markes he had feen, eafily perfwaded him to believe all the other marvels
which were reported of him : (thefe Exemplars were the Books of the Royal Prefs, and fome
Pieces of Coyn ) His Letter was fomewhat prolix , and written in a more polite Style then the
vulgar Greek now ftoken in that Country : It were great pity that a thing fo memorable and
fignalflm Id be buried in oblivion, and therefore I take notice of it with more circumftances
then many others . But during all thefe mighty Projects, there happen'd a jlrange revolution
which in left then fix Moneths changed the whole face of the State, by the death of that fuperla -
live Minifter the great Cardinal de Richelieu, the very Column and Ornament of Monar*
chy ; and a jbort f face after that, by the Recefs of Monfeigneur de Noyers ; and imme
diately upon this, by that loft to all France, the YTmghirnfelf ; fo as all thefe noble beginnings
had none that follow'd them,there remaining not one of thofe which enter d afterwards into the
management of the publique Affairs, who had,with their affedions, the Knowledge and the
Talents which were requifite for the continuation of thefe great Defigns. We then prefently
beheld the work, of the Louure abandoned, the finifhingof the great Gallery to ceafe; and
generally all the Fortifications in France, without hopes of feeing the Work reaffumed and ta «
ken in hand again of a long time fit being neceffary, for fuch an enterprife, to find affembled in
the famtperfon ( as it was feen in that of M. de Noyers) virtues and qualities both rare and
extraordinary. Befides , to produce fuch a one as he was, of an univerfal Genius and Capa¬
city, that loved the Arts with judgment, and cultivatedthem ; that would negled his pro v
per Intereft, to preferve that of the State and of the P ublique, who,amids an Authority and ex¬
treme Favour, retaining Jlill the mode fly of a private man, thinks not of eftabliftnng his houfe,
and, againft the ordinary courfe fo natural to all men, fhould refufe to augment and heap up
riches, or feekTitles and Dignities for it, and that never tookthought, or laboured, as did he
during an employment of twenty years ( for the latter fix of which hi had almofl the uni¬
verfal management of State affairs') hut for the fafety, enlargement, and fflendour of the
Kingdom ; For fuch a Mafter-piece of nature, I fay, there needs the efforts of many Ages :
The recompence of fo many Virtues was very f mall on man’s part, but great and inefiimable
on God’s who crown'd this illuftrious life with a mod happy death. I referve as a treafure
inefiimable a certain fimall Collection of the Payings of this holy Courtier, our mod dear

Mailer

The Epistle.

Matter, the continuance of bit Sicknefs, which wot affified by his DireCtor the R. P.
de SainCt Jure who wa6 with him to the lafi ; and a* I have had the fad confolation of being
prefent at tbit lajl a£l of hit life , during which I remember to have heard from his own mouth
all that is contain'd in this recital , I am not able to read them without a great deal of tender -
nefs , and indeed without tears. He dyed in his Cattle of Dangu on Friday the twentyeth of
QCtober, at one a clock, after noon , in the Tear 1 645 . and in the fix and fiftyeth of his Age,
two years and an half after his Recefs from Court, his body being tranfported to the Church
df the Noviciac belonging to the Jefuits, which he had built in honour of St. Xauierius, and
defin'd for his Sepulchre. This Church is looked upon as the moft regular piece of Ar¬
chitecture in Paris ; and though it be not fo exceedingly chargd with Ornaments, as fome
others are , yet it appears very noble in the eyes of Intelligent perfons ; all that is there being
done with an attention and care fo extraordinary. Rut that which in it excells all the reft
is a Picture of one of the Miracles wrought by St. Xauier, which was Painted here at the
fame time , with that admirable Supper of the Apoftles ( which he caufed to be plac'd at the
Altar of the Chappel -royal of the Cattle of St. Germains , where all the figures exceed
the natural :) both of them the Works of our famous Mafier le Paufiine, and indeed worthy his
Pencil, though the fir fi of them was Painted with extraordinary haft , and during the Winter .

Ton fee ( dear Brothers') a fmall draught of apart of the life of our moft precious and moft
honour'd defuntt M. de Noyers,tte incomparable Genius of France never to be fufficiently
prayfed, never enough regreted, becaufe comparable to the greateft examples of Antiquity.

I would by all means place him in the front of this Book of minejo let the world fee that I had
no other objeffi inthefinifhing of this Work, (of which he honour d me with the charge) then
to render the fame fervice and veneration to his Memory being dead. \ I could perform to his
Perfon were he yet alive » However , in reaffuming it at your requeft ; My firft ardour be¬

ing much ahy d^ what was heretofore a liberal and divtrtiffant Study during the prefence of
my late Lord and Matter, is now become a difficulty and a kind of conftraint ; fince I have
been forc'd to alter , and even retrench divers particularities which were then very effentialto
my defigne , but would now have been altogether ufelefs andunfeafonable . Receive then (my >

dear Brothers) this Fragment of a Book ^fomuch at leaft as remains of it , and if there oc-
curr any thing which may prove yet conftderable in fuch clear and difcerning eyes as yours are ,
and that my defigns feem worthy of any place among ft your other curiofities, you owe the
entire obligation of it to our common Friend Monfieur Errard, who was p leafed to
take a great deal of pains to fee it perfefted ; and has not only perfwaded me (as well as you)
topublijb it to the worlds but has more then this contributed likiwife to it, of his own labour
and particular elucubrations. ,

From Paris the
2 2. of May 1650.

. mS .

A NT I E NT

n I j . ' jj • : ■ t { ■'

T* ) . ' • i ;Us j - ‘ r ■ { .\ y- .

OF THE

ARC H ITECTV R

\ \ * r

WITH THE

MODERN.

\ . . . , J . £ . '• ... i )

THE PREFACE.

READER,

E F 0 R E I do altogether refign this Book.to thy judgement, 1
advertife thee, that ’twas not my defign in compiling it to teach
any man, much lefs yet to fatisfie 'thole Critical fpirits which the
World fo much abounds with : nor, is the Publique at all behold¬
ing to me ; I have no thought of obliging it , an envious , and
evil Judge : In a word, being nothing inclin’d to give them fa-
tisfa&ion, I have eafily gratified my labour with the defir’d fuc-
cefs : My principal drift was, Firft, to fatisfie my felt] nor has it coft me much
trouble ; though we fometimes find certain humors that are more averfe, and dif¬
ficult to themfelves, then they would prove to others : For my part, I do not fo ufe
to treat my felf : We have Enemies enough befides ; and whatever I were able to do,
I exp eft that men fhould prefently lay of me, all that Jealoulie does commonly fug¬
ged in reproach of Novelty. That being no Artifan , it did not become me toprefcribe
to others the rules of their My fiery ; That I teach nothing particular and extraordi¬
nary here ; That the Books from whence I have gather’d all that I fay being com¬
mon and much ampler then mine, there was no need to have fcumm’d them thus fu-

B perficially

■t

2 A Parallel of the antient ArchiteBurt

perficially over ; That it had been better to have fearch’d, and produc’d fomething
which the World had not yet leen : That the mind is free, not bound, and that
we have as good right to invent, and follow our own Genius , as the Antients,mt\\ont
rendring our felves their Slaves ; fince Art is an infinite thing, growing every day
to more perfe&ion, and fuiting it felf to the humor of the feveral Ages, and Nati¬
ons, who judge of it differently, and define what is agreeable, every one according to
his own mode,with a world of fuch like vain and frivolous reafonings,which yet leave
a deep impreffion on the minds of certain half-knowing people, whom the pra&ice
of Arts has not yet difabus’d ; and on fimple Workmen , whole Trade dwells all upon
their fingers ends onely : but we (ball not appeal to fuch Arbiters as thefe. There
are others to be found ( though truely very rarely ) that having their firft ftudies
well founded on the Principles of Geometry before they adventur*d to work, do after¬
ward eafily, and with a durance arrive to the knowledge of the perfection of the Art :
It is to fuch onely that I addrefs my felf, and to whom I willingly communicate the
thoughts which I have had of feparating in two branches the five Orders of Archite¬
cture ,and forming a body a part of the Three which are deriv’d to us from the Greek s ;
to wit, the Dorique , Ionique , and the Corinthian , which one may with reafon call the
very flower and perfection of the Orders ; fince they not onely contain whatfoever
is excellent, but likewife all that is neceffary of Architecture ; there being but three
manners of Building. , the Solid., the Mean, and the Delicate ; all of them accurately
exprefs’d in thefe three Orders here , that have therefore no need of the other two
( Tufcan, and Compofita ) which being purely of Latine extraction, and but fbrrainers
in refpeCt to them , fern as it were of another fpecies ; fb as being mingl’d, they
do never well together, as thofe to whom I difeourfe will foon perceive, when they
fihall have once put off a certain blind refpeCt and reverence,which Antiquity , and a
long cuftome (even of the greateft abufes) does commonly imprint in the moft part
of men, whofe judgements they fo pre-occupate,that they find it afterwards a diffi¬
cult matter to undeceive themfelves ; becaufe they deferr too much, and hardly
dare to examine what has been receiv’d by the vulgar approbation for fo long a time ;
Let them but confider, that we find no antique example where the Greek Orders are
employ’d amongft the Lathe, and that fo many ages of ignorance have pafs’dover us,
efpecially in the Arts of Architecture, and Painting. , which the Warr, and frequent in¬
undations of Barbarians had almoft extinguifh’d in the very Country of their Originals;
and which were in a manner new born again but a few years fince, when thofe great
Modern Mafters , Michael Angelo , and Raphael, did as it were raifethem from the Se¬
pulchers of their antient mines, under which, thefe poor feiences lay buri’d ; and I
fhall have fair hopes of their Converfion,and to fee them of my opinion. It is the very
lead of my thoughts to broach Novelties ; on the contrary, I would ( were it poflible)
afeend even to the very fburfe of the Orders themfelves, and derive from thence the
Images , and pure Ideas of thefe incomparable Mafters , who were indeed their firft In -
ventors, and be inftruCted from their own mouths; fince doubtlefs the farther men have
wander’d from their Principles , tranfplanting them as it were into a ftrange foile, the

more

with the Modern. ■ 3

more they are become degenerate, and fcarce cognofcible to their very Authours. For
to fay truth, have we at this prefentany reafon in the World to call tho fe three by the
name of Orders , viz. Dorique , Iontque , and Corinthian,wh\ch we daily behold fo disfi¬
gur'd, and ill treated by the Workmen of this age ? to fpeak ferioufly,remains there fo
much as a Ample Member, which has not receiv’d fome ftrange and monftrous alterati¬
on ? Nay, things are arriv'd to that pafs, that a man {hall hardly find an Architect who
dildains not to follow the bell and moft approved examples of Antiquity : Every man
will now torfooth compofe after his own fanfie, and conceives, that to imitate them,
were to become an Apprentife again ; and that to be Majlers indeed, they muft of ne-
ceffity produce fomething of new : Poor men that they are, to believe, that in fan-
taftically defigning fome one kind of particular Cornice , or like Member , they are pre*
fently the Inventors of a new Order , as if in that onely confided, what is call’d Inven¬
tion ; as if the Pantheon , that fame ftupendious and incomparable Stru&ure (which
is yet to be feen a zRome ) were not the Invention of the Architect who built it , be-
cauft he has vary’d nothing from the Corinthian Ordinance of which it is intirely
compos’d ? ’Tis not in the retail of the minuter portions , that the talent of an Archi¬
tect appears ; this is to be judg’d from the general diftribution of the Whole Work.
Theft low and reptile Souls , who never arrive to the univerfal knowledge of the Art,
and embrace her in all her dimenfions , are conftrain’d to ftop there , for want of
abilities , inceflantly crawling after theft poor little things ; and as their flu-
dies have no other obje&s, being already empty , and barren of themfel ves ; their
Idea* are fo baft and miftrable, that they produce nothing fave Mafcarons , wretched
Cartouches , and the like idle and impertinent Grotesks , with which they have even in-
fefted all our Modern Architecture. As for thofe other to whom Nature has been
more propitious, and are indu’d with a clearer imagination, they very well perceive
that the true and eflential beauty of Architecture confifts not Amply in the minute
ftparation of every member apart ; but does rather principally refult from
the Symmetry and Oeconomy of the whole , which is the union and concourft of them
all together, producing as ’twere a vifible harmony and confent , which thofe eyes
that are clear’d and enlightned by the real Intelligence of Art , contemplate and be¬
hold with excefs of delegation. The mifery is, that thefe noble Genius's are in ve¬
ry fmall numbers, whereas the vulgar Workmen like to Ants fwarm prodigioufly in
all places* Would but our Grandees once deveft themfelves of that prejudice and
difdain which they conceive of the Arts , and of thole who apply themfelves unto
them , and but confider the neceffity which they above all others particularly have
of this of Architecture , there would be great hopes we fhould yet fee them reflourifh,
and be born again as ’twere from New to Antique : We have had frefti experience of
this under the Reign of Francis the firft , one of the moft illuftrious Princes that Hi-
ftory has recorded , and who from an affe&ion extraordinary which he bore to Vir¬
tue , and great Attempts , peopl’d his State with Perfons the moft rare and accomplish'd
of the age wherein he liv’d,who ere&ed thofe glorious Monuments to the memory of
this incomparable Monarch. It is, in my opinion, the onely expedient to re-eftablilh all

the

A Far diet of the antient Architecture

the Arts in that primitive fplendor from whence this unworthy negleft has precipi¬
tated them. The Greeks who were the firft Inventors of them, and with whom alone

: f* • » - '

they happily arriv’d to tlieir fupreameft perfect i on, preserv'd them in fo high efteem
amongft them, that the Greatefi Perfohdges of* their Common-wealths were not afham’d
to make open profeffion of them , but after a manner nothing Mercenary ; Their
Works were payd with Honor ; and as they propos’d to themfelves the glory onely,
and immortality of their Name for recompence • io, nor did they make any tiring
fave what was truely great and magnificent. It would appear incredulous, to relate
onely what we read of this Nation , were not the credit of their Anceflors altogether
irreproachable, and that there did not remain even to this very day, the moft via¬
ble marks of what is reported. There is not in the whole Vnherfe any thing worthy
of renown, which that divine Country did not once produce in its height of excellen¬
cy. Thole great Captains , fo many Philosophers of all feffs, Poets, Orators , Geometrici¬
ans, Painters , Sculptors , Architects, and, in fumm , whatfoever hath damp’d on it the
Character of Vertue proceeded firft from thence. Would wee now do worthily ? Let
us not then forfake the paths which thefe excellent guides have trac’d before us ;
but purfue their f'ootfteps, and generoufly avow, that the few gallant things which
have yet reached down to us, are due onely as deriv’d from them. This is the Sub¬
ject that has invited me to afiemble and begin this Collection by the Greek. Order sguEich
i had firft drawn out of Antiquity her felf, before 1 fo much as examin’d the Writings
of our modern Authors : For even the very beft Books extant on this Argument , are
the Works of thefe old Mafiers which remain to this day , and whofe beauty is fo
perfeft, and fo univerfally receiv'd, as has for almoft two thoufand years been ad¬
mired by the whole World. It is to them we fhould repair to learn to accuftom the
eys, and to conform the imagination of Young Men to the Ideas of thofe excellent Spi¬
rits. , who being born in the midft of the light and ferenity of the faireft Clirnat under
heaven, were fo defecate and inlightn d, that they dilcern’d thofe things as ’twere
naturally, which we difcover with fo much pain, after a long and laborious indagati-
on. I know ’tis free for every one to efteem what pleafes him beft in the mix’d Arts ,
finch as is this , whofe Principles for being foly founded upon Observation , and the au¬
thority of Examples , can challenge no precife demonftration , and therefore I fhall make
bold to affiime the fame priviledge which I leave to others, of judging according to
their fanfie : For my part, I find fo excellent, and particular a beauty in the three
Greek. Orders , that I am hardly at all concern’d with the other two of the Latine in
companion ; and the Station v/hich has been affign’d them, fufficiently demonftrates
that there was no place for them, but after all the reft, as if indeed they had been
refus’d by them bo:h : The rufticity and meannefs of the TuScan having exil’d it
from the Cities , has lent it to the Country Cottages ; and as unworthy of entering into
Temples and Palaces , tis become the very Lift, as even deftitute of employment: For
the other , which would pretend to exceed, and refine upon the Corinthian , and what
they name the Compofita , tis in my apprehenfion yet more irrational, and truely me*
thinks altogether unworthy to be call dan Order , as having been the fourfe of all that

confufion

with the Modern. <

Confufion which his been brought: into Architecture , fince Worktnen have taken the li¬
berty to difpenfe with thofe which the Antients had prefcrib'd us, to EngotijbQ as one
may lay) after their own capricious humour an infinite many which do all pafs under
this appellation. Honeft Vitruvius in his time well forefaw the ill confequence which
thofe of the Profefion would introduce out of their love o {'Novelty, which already be¬
gan itfeems to incline them to Libertinifm , and the difdain of the Rules of that Art,
which ought to remain mo ft 1'acred and inviolable ; fo that we muft look On this as on
a grey-headed evil which grows worfe and worfe daily ,and is become now almoft in¬
curable : Notwithstanding, would our Modern Architects but yet fix any limits to the
freedom they have taken, and keep themfelves within the precin&s of the Roman Or -
der , which is the legitimate and true Compofita , and which has likewife its Canons and
Rules as well as the reft, I fhould find no caufe of complaint, fince we fee inftances
of it among the Veftigia's and footfteps of the moft flourifhing ages ; as in particular,
that of Titus Vefpaftanus, to whom the Senate ( after the fack of Jerufalem') ere&ed a
moft magnificent Arch Triumphal , compos’d of this Order : But then it Should never
be employ'd without mature advice, and always alone by.it felf ; for fo we find the In*
ventors of this Order us’d it, who well knowing its defers (compar’d with the reft)did
ever forbear to paragon them together : But our Architects never entring into this con¬
sideration, have fain into an Errour which admits of no excufe,by forcing the weaker
to fupport the ftronger .Scamozgi is the firft that has lpoken of this in his Treatife of the
five Orders, where he afiignes to the Corinthian the moft eminent place : However, to a-
void all conteft,I find it lafeft,never to mix them together at any time,feeing it was ne¬
ver practis’d by the Antients ; though Philibert de Lor me find Sebaftian Serlio fanfy to
have both of them feen it in the Colcfeumfind produce likewife a deftgn for an Example
of their Compofed Order. But believe it, the obfervation is very erroneous ; for they are
indeed two Corinthians ,the one over the other, and albeit in the upmoft, which forms
the Corona of this great Colofs of Building, the Comic refembles not the other,as being
very particular ; yet are the Capitals for all that of the fame Order , as Scarnozgi has noc
forgotten to obferve. This may therefore fuffice to advertifeus, not lightly to credit
what is deliver’d to us out of Books, when we have the opportunity of repairing to the
fountainfind to be fatisfied of the truth from thence ; For having oftentimes dili¬
gently examin’d the defigns offundry Mafters on the fame fubjeff, and made an exad
calculation of the meafures which they eftablifti , we feldom find them to agree a-
mongft themfelves, notwithftanding that all of them profefs to have accurately ob-
ferv’d them. But that we may wound no mans reputation, fince every one does the
beft he is able, and that we have ever fome obligation to thofe who have fo freely im¬
parted their Labours to us, I will forbear to exemplifie. Let it fuffice to have given
you this Caution : Thofe who fhall be fo curious as to try, and which will (1 affure
them) be no fruitlefs attempt, fhall loon find difficulty enough in the extraordinary
confufion of the different manners oCdnofeArchiteCtsfirho inftead of working upon the
accompt of the Alodels of Columns (which is the moft natural Alethodfind particular¬
ly affefted to the Proportions of Architecture ) amufe us with Palms, Feet find other ge~

C neraf

6 A Parallel of the antient Architeclure

neral Meafures (as meet Mafons would do) which To confounds the Imagination,that
tis eXtream difficult to dif-intangle ones felf out of them, and cofts a world of time ere
one comes at laft to reduce and apply them to the Scale of the Model; without which,
all their induftry becomes fruitlefs,and to no purpofe.To this it is I have principal- -
iy endeavour'd to apply a timely remedy, reducing all the defigns of this Treatife to
one Common Model , namely, to the Semidiameter of the Column divided into thirty Mi-
nutes , that fo I may approach the precife meafures as near as is poffible • There are
haply fome Workmen who upon the fuddain will not approve of it, as being not ac-
cuftom’d to fo exadt an exarnen of the particulars which concern their employment :
However (to prevent their cenfure) I (hall referr them to the writings of Andrea Pal -
ladto , and Scamozgi, two of the greateft Mafters which we have of the Profeffion , who
in their Treatife s of the five Orders (taking the intire diameter for Models have affign'd
it no lefs then fixty minutes, , which yet they frequently fubdivide into balfs , thirds,znd
fourths , according as they conceive it neceffary, and as will appear in this Collections
where I have punctually reported their defigns parallel’d one with the other , by a
Method fo perfpicuous, that one may inftantly perceive both in what, and how much
they differ amongft themfelves : fo that by help of this Comparifon, every man has the
liberty of pleafing his own fanfy,and following whether of the Authors I propofe, as
being all of them within the common approbation. But to the end we may proceed
folidly,and make a judicious Election , it will firft be requifite to be throughly in*
ftru&ed in the Principles of Architedure,znd to have apply ’d our ftudies to Antiquities ,
which are the very Maxims and Rules of this Art : Not as if generally the Antients were
to be imitated indifferently ; on the Contrary, there are but very few of them good,
and an infinite number of them bad, which is that has produc’d this confus’d varie¬
ty amongft our Authors, who treating of the Orders, and their Meafures, have differ'd fo
ftrangely from one another. It is therefore undoubtedly the fafeft way to have accefs
to the Sourfes themfelves,and to follow precifely the Models and Proportions of fuch
antient Strudures as have the univerfal confent,and approbation of thofe of the Pro¬
feffion. Such Examples we have at Rome in the Theatre of Mar cellus, the Temple of the
Rotunda , the three Columns near the Capitol, and fome others of this fort, whofe feve-
ral Profiles I fhall produce on every of the Orders, and after them, thofe of our more
Modern Ar chit efts, that fo in confronting them to thefe glorious Examples which are
the Originals of the Art, they may as to an impartial Touchjione have recourfe to them,
for the tryal and examination of their Works, as I my felf have done with extra¬
ordinary fatisfadlion in compiling of this prefent Treatife, and which every one may
do as well as I, and at a far lefs expenfe by all that time I have fpent in opening and
preparing for them the way. This is. Reader, what I thought fitting to inform
Thee of concerning my Labour, to the end thou mayeft have a lincere, and judicious
eftimation of it.

The

The Firffc Part.

— — — ; — - 1 - . , ; - : — ... , -

CHAP. L

Of the Orders in General.

' is fufficiendy difficult to determine precifely , what the name of
Order may fignifie amongft our Architects , though it be indeed
very neceffary to underftand it well. Of all the Moderns who
have written upon the five Orders, there is none fave Scamozgii
who has once remember'd to give us the definition, and it is in
the i . cap. of his fecond part , line 42 . where he faith. That it is a
kind of excellency, which infinitely adds to the drape, and beauty
of Buildings,5Wra/,or Profane. But in my opinion, he had even as good have held
his peace, as the reft have done,, as to have fpoken in fuch wandring terms , and
with fo little folidity. ; The Father Vitruvm in c. 2. l.i. calls it Ordin-mr% and
the term is at prefent in huge vogue amongft our Painters : When they wo d 1
prefs the elegant compolition of a Piece , or the diftribution of Figures in an Ftiflory*
they fay, that the Ordinance is good ; Notwithftanding this is not yet exa&ly the inten¬
tion of Architects ; and Vitruvius ( in pain to exprefs it to us) adds. That it is At
apt, and regular dijpofition of the members of a Work feparately ; and a comparifon cf theirnU
verfal proportion to the jymmetrie. Another peradventure more fubtile and penetrant
than I am, might find out the myftery of thefe words, which I confefs I comprehend
not ; and therefore it is , that I have thiis trandated them purely from the Laitne
text word for word , that I may the more naturally propofe them to thole whofhall
delire profit by them : Daniel Barbara ( who hath given us two excellent Com¬
mentaries upon this Author ) has been very induftrious to clear this paflage, which yet
is not without fome difficulty ; Philander, on the fame chapter, found out a fhorter
way to fay nothing at all , and amufes himfelf upon other matters far more unnecef-
fary ; fo that to get out of this Labyrinth we muft even take it in pieces, andcOn-
fider the things apart, that fo it may, as it were, touch our imagination, and diftin&ly
form its Idea's in us, which is the bufinefs we are to enquire after : For the Art of Ar¬
chitecture dees not conftft in Words ; die Demonft ration ought to be fenfible , and ocu¬
lar. It is very perfpicuous to all thofe of this Myftery , that the principal Piece of
♦ - art

8 A Parallel of the ament Ar chile Eh re

an Order is die Columne , and that its Entablature being once placed on the Capital pro¬
duces the ent ire Compofition. If therefore we will define it exactly , and give the moft
exprefs meaning of' it, we miifl, as it were, make a very Anatomy of the parts, and
fay, that the Column , with its Bafe, and Chapiter, crown'd with an Architrave, Frieze, and
Cornice, formes that kind of Building which Men call an Order ; feeing all thefe indivi¬
dual parts do generally encounter, and are found through all the Orders ; the difference
amongft them confining in no other particular, then in the proportion of thofe parts,
and the figure of their Capitals. They have yet indeed fome peculiar ornaments, as
Inglyphs, the Dorique ; Dentelli, or Teeth, the lonique ; and the Corinthian her Modilions ;
but they are none of them of fo general and indifpenfible obligation, but that even
the moft regular of the Antients themfelves, have upon fome conliderations frequently
difpenfed with them. For Ornaments are but acceflories in the Orders, and may be
diverfly introduced as occafion requires ; principally in that of the Corinthian, where
Artifts being to reprefent an effeminate and virginal beauty ( as we may eafily de¬
duce from what Vitruvm has recounted to us of Callimacut. i. cap. 4. book) ought
to omit nothing which may contribute to the perfection and embellifliment of the
Work : and the Antients have preferib’d us fo many Examples of this Order, in which
they have been fo profufe and luxurious in Ornaments, that one would fwear, they had
drawn their imagination quite dry to crown this Mafter-piece of Architecture. But
it is not with the other Orders after this fort , where there is a more mafeuline beauty
requir’d; efpecially in the Dorique, the folidity whereof is totally repugnant to
the delicatenel's of thefe Ornaments ; fince it fucceeds fo much better in the plain
and fimple regularity of its proportions. Garlands and Fofies fuit not with Her¬
cules ; He is beft adorn d with a rough-hewn and maflie Club : For there are Beau¬
ties of feveral kinds, and thofe oftentimes fo unlike, as what is agreeable to the one, is
quite contrary to the other1. As for the lonique Order, ’tis as it were in the middle of
the two extreams, holding in a manner the Balance ’twixt the Vorique folidity ,andgen-
tilenefs of the Corinthian ; for which reafon we find it diverfly employ’d in ancient
Buildings, Ample and plain according to the genius of the Architect, or quality of the
StruCfure. So as thefe three Orders may very well furnifli all the Manners of build¬
ing, without being at all oblig'd to have recourfe to the Tufcan Order, or that which is
Compos'd , both which 1 have therefore exprefly referv’d f or the conclufion of this
Treatife, and feparated from the reft, as in truth but Supernumeraries, and almoft inu¬
tile. For the excellency and perfection of an Art, confifts not in the multiplicity
of her principles ; but contrarily , the more fimple they are,and few in number , the
more worthy are they of our admiration : This we fee manifeftedin thofe of Geo¬
metry^ which is in truth the very foundation, and univerfal magazine of all thofe Arts,
from whence ThB has been extracted , and without v hofeaid it were impoffibleit
fliould lubfift. Well therefore may we conclude , That the Orders being no other
then the very Elements of Architecture , and thefe Three firfi which we have deduc’d
from the Greeks', ccmprehending all th e Species of Building ; it were but a fuperflu-
ous thing we fliould pretend to augment their number.

CHAP.

with the Modern ,

y

311'

jnxnoo

or!j 10 't

CHAP. II.

i-li • ; . . ,

.aoibuf

orique Order.

r'j ) >

fl > ]

IT is no (mall advantage for the Dorique Order , to demonftrate that it has been
the very firft regular Idea of Architecture ; and that, as the firft-born and heir
of this Queen of Arts? itdias had the honour alfo to have been the firft builder both
of Temples and Palaces. : , • : ! -

The Antiquity of its Original (according to all thofe who have written thereof)
is, in a manner* immemorial ; notwithftanding Vitruvius referrs him (and that with
fufficient appearance) to a Prince of Achaia, named Dor us ; who being Sovereign
of Peloponefus, built in the famous City o f Argos a magnificent Temple to the Goddefs
Juno, which was the very firft model of this Order.ln imitation whereof the neighbour
ring people ereded divers others; amongft which, the moft renown’d was that which
the Inhabitants of the City Olympia dedicated to Jupiter , whom they furnam’d Olym¬
pian. The Hand of Delos built another very famous one to the God Apollo , in me¬
mory of his Birth in that place, and of which there is to this day fome Veftigias re¬
maining. And in this it was that the firft Triglyphs were made in the form which we
now behold them, reprefenting the Figure of an antique Lyre , of which Inftrument
this God had been the Inventor. In Elis a City of the fame Countrey there were
divers memorable Fabricks confifting all of this Order , whereof the principal were
a large Periflyle or Porch, ferving for a publick place, having about it a triple range
of Porticos built on Colomns, and three magnificent Temples , as Paufanias in his fifth
Book makes mention ; the one confecrated to the Goddefs Juno , environ’d with huge
Marble Pillars ; rhe other to Dyndima , the mother of the Gods ; and a third to Mi¬
nerva , which bore the name of their City : And this laft was without doubt a moft
incomparable Mafter-piece, having been built by the famous Sccpas competitor
with Praxiteles in the Structure of that ftupendious Maufokurn which die Queen Ar-
temifia ere&ed in memory of her Husband. In his Preface to the feventh Book, Vitru¬
vius makes mention of others, amongft which he celebrates thofe of Ceres , and Pro-
ferpine in the City of Elufina , as a work of prodigious Grandure. But it would be
but unprofitable for us to make any further difquifition concerning thefe Edifices,
fince thofe who have treated of them, have left us no particular remarks touching
their form, from whence we might derive any thing of advantage for our Imitation*
They talk much alfo of the names of many great Architects of this age, who them-
felves writ the Rules of their profeffions, amongft whom, one named Siknus had ge¬
nerally treated of the Dorique proportion ; and a certain Theodoras made the defer"; pri¬
on of a Temple of the fame Order , ereQed to the Goddefs Juno by the Inhabitants of

Id the-

io A Parallel of the antient A rchiteofure

the He of Samos, with fundry other mention’d in the fame place, whole Books and
Works are not now to he found ; fo that after the lofs of lo many incomparable Au¬
thors, who were the very fource and fountain of the Art whence we might at prefent
extraft the purity of its Original , we muft of neceflity content our felves with the
Obfervations and Conjectures which the Moderns have made upon certain tracks and
footfteps of Antiquity I which in this conjuncture ferve us inftead of Books-^nd wherein
all thole Matters which I have here affembled, as to an Oecumenical and general Coun¬
cil of Architecture have finifh’d and perform’d their Studies.

But for as much as naturally every man abounds in his own fenfe, and drefles up
a beauty after his particular mode, I conceiv’d it expedient from the Defigns which
they have left us for Rules*, to have continual recourfe to the Antients, as to the beft
and mow invariable Compafi which we can poffibly fteer by ; amongfl whom we (hall
find fufficient variety, reafonably to fatisfie the Gutt offuch as are defirous of choice.
And for this purpofe, I (hall upon every Order exhibit two or three Examples drawn
from the Originals themfelves , and very accurately meafur’d by the account of the
Module of the Colcmn, with the very Divifwn which I have obferv’d in the Dejigns of o-
ther Matters ; that fo all concurring in one Uniformity, and under the fame Scale ,
the Comparifon and Examen may become the more ealie and intelligible : For the
multiplying of Operations is ever difadvantageous by reafon of the Confufion which
it ordinarily produces in the minds of thole who work, and that it alfo waftes more
time ; both which inconveniences are of very great importance. And when all the
fruit of my Travel in this Aflembly of Authors fhould be of no further profit to the
Studious in this Art, then to have thus adjuffed them together,I conceive they ought
to be very well fatisfied.

But let us return to the Dorique Order , and confider its form, proprieties, and differ¬
ence from the others in grofs, before we enter into the Parcels of its Proportions,
fince general rules are ever to precede particular. Having then propos’d for a foun¬
dation, that this Order reprefents Solidity to us, as its Specifique and principal quality,
we ought not to employ it but in great maffie Buildings and Edifices of the like na¬
ture ; as for Forts of Citadels, and Fortreffes of Towns, the outfide of Churches or Pub-
lique places, and the like, where the delicatenefs of the Ornament is neither conveni¬
ent, nor profitable ; for as much as the heroick and gigantine manner of this Order
does excellently well in thole places, difeovering a certain mafeuline and natural beau¬
ty, which is properly that the French call la grand Maniere .

Upon this fubjeft I am obferving a thing which in my opinion is very curious
touching the beginning of the difference of Manners ; whence it proceeds , that in
the fame quantity of Superficies , the one feems great, and magnificent , and the o-
ther appears poor and but trifling. The reafon of which is very prety, and not
ordinary. 1 fay then, that to introduce into Architecture this grandure of Manner of
which we fpeak, we ought fo to proceed, that the divifion of the principal Mem¬
bers of the Orders confift but of few parts, that they be all great and of a bold and
ample Relievo and Swelling ; that the Eye beholding nothing which is little and

mean,

with the Modern. n

mean, the Imagination may be the more vigoroufly touch'd and concern’d with it. For
Example : In a Cornice the Gola,oc Cynatium of the Corona ; the Coping, the Modi-
lions, or Dentelli make a noble (hew by their graceful procedures ; and that we fee
none of that ordinary Confulion which is the refult of thofe little cavities, quarter-
rounds of the Aftragal , and I know not how many other intermingl’d particulars
which produce no efted in great and maflie Works, and which very unprofitably
take up place to the prejudice of the principal Members ; it is moft certain , that
this manner will appear folemn and great, and that , on the contrary, become pitiful
and mean by reafon of the multitude of' thefefmaller ornaments which divide and
fcatter the angles of the fight into fo many beams, and fo prefs’d together, that the
whole appears but a Confufion. And though one would judge upon the fudden,
that the multiplicity of the parts fhould contribute fomething to the appearance of
the grandure and {late ; yet notwithftanding it happens quite otherwife, as we may
eafily perceive in examining it by Examples , and in the Defigns of the Mafters which
I have here cohered together, where in the fame inftant a man may difcern both
the quality of their Gerunds, and the variety of their judgments : For fome of them
efteem that to be delicate and rich, which others term mean, and confuted ; and that
which feems to us of the Grand maniere, in their eyes appears to be but grofs and
heavy ; and indeed it would fo prove if one fhould exceed the terms of proportion,
and did incline too much to either extreme : But be this only fpoken in Pailage ; We
proceed now to our Orders in general.

The Colomnes of the Dorique Order have this of remarkable amongft the reft , that
in the faireft Works of Antiquity in which they have been employ’d, we find them
without Bafes ; as in the Theater of Marcellws at Rome ; in that at Vicenza , and in a
very magnificent Triumphal Arch at Verona ; and Vitruvius having treated of this ve¬
ry Order more exa&ly then of any other, fpeaks not fo much as a word of its Bafts,
albeit he hath fufficiently defcrib’d the meafures of the loruque, and of the Attique for
the Corinthian, without having fo much as omitted that of the Tufcane ; though there
is not one of our modern Architects but make fome cavil at it, forming one to them-
felves after their own invention.

For my part, I fhould make a great fcruple to condemn thefe old Mafters wild
did all with fo much circumfpe&ion. One had much better endeavour to difco-
ver their Intention, who did certainly proceed with great judgment ; then to add
any thing prepofteroufly to this Order, and which may prove repugnant to its Prin¬
ciples.

Let us take therefore the thing from its original, and confider upon what account
they added Bafes to the foot of Colornns, and what there they reprefent , that thence
we may infer whether they are likewife as proper to thefe we fpeak of here, as they
be to the other.

Vitruvius tells it us in the firft Chapter of his fourth Book, and had not it feems
fomuch as once fpoken of it, but upon occafion of the Ionique , which he affirms
to have been compos’d after the module of' a feminine beauty, to which he Grits all

D 7 the

12 A Parallel of the antient ' Architecture

the reft of the parts ; as the Volutds of the Capital to the mode of the bead-tire and
treffes of Womens hair. The Vivo , or {haft of' the Colomn , to their airy and delicate
fhape f the fittings and Channelling to the plaits of their Robes ; and theBafe to the
bufkin’d Ornament of their legs and feet.

In the fame place he compares our Dorique to a robuft and ftrong Man , fuchas
an Hercules might be , whom we never reprefent but on his bare feet : fo as from
hence we may reafonably judge, that to the Dorique Order alfo Bafes are no wayes
proper.

But the cuftom which has licentioufly been introduc’d amongft fo many Exam¬
ples as we find among the Antiques as fo ftrangely debauch’d and prevented the Ima¬
gination , by 1 know not what falfe appearance of Beauty ; that it now tranfports it
quite befides Reafon. Neverthelefs fuch as are clear -lighted, being advertis’d of this
abufe,will loon re&ifie, and undeceive themfelves : and, as what feems moft likely is
then dete&ed to be erroneous when ’tis diligently examin’d ; fo alfo the appearances
of Beauty, when they are againft Reafon, become in fine but the more extravagant.

This Oblervation being eftablifh’d upon thefe great Examples which I have cited,
and Reafon ferving for its guide, let it pafs for dernonjlration .

But we will now confider the reft of the Order.

His Entablature is more maftie, and tall, then any of the following Orders ; be-
caufe the ftrength of the Colomn for being greater , prepares him alfo for the greater
burthen. It has ordinarily one fourth part of the Colomn , whereas in the other he
has very often but a fifth, and fometimes lefs. The Cornice would not be deck’d widi
any Foliage, or like trimming ; but in cafe you allow him Modiliom , they fhould be
fquare, and very plain. The Freeze has a regular Ornament, which are the Triglyphs ,
the Compartment whereof obliges one to a very great inconvenience , and which was
heretofore fo cumberfome,thateven the skilfulleft Mafiers had much ado todifengage
themfelves. But Vitruvius has found a very fufficient Expedient, as may be leen in
his fourth book. Cap. q . In the interim let it fuffice, to affirm here, that all the incon-
veniency confifts in fo contriving the matter , that the Triglyphs be precifely plac’d
over the middle of' the Colomn which it encounters ; and that the Metops ( that is to
fay ) the fpaces twixt the Triglyphs , be perfectly fquare ; for that is fo effential in this
Order , that one fhould never difpence with it. That which renders the execution
difficult proceeds fr om the diftribution of the Inter columniathns, which have alfo their
diftances regular, and determin’d, which does not juftly quadrate and fuit with thole
of the Triglyphs . See the fecond Chapter of the third Book of Vitruviws , Commented
by the Reverend Daniel Barbaro , where all this is rarely well explain d, both by dif-
courfe and figure.

The Architrave hath alfo its Ornament particular, which confifts in certain pen¬
dent drops under the Triglyphs that feem after a fort, to be faftned to it, as if they were
all of a piece ; for that one never fees the one, without the other.

The entire body of the Architrave ought to appear folid and very fubftantial ; for
which efieft I would not have it exceed one full face , left parting it in two, it

appear

i

with the Modern,. i \

appear feeble and weak, according to the principle which we have newly- eftablifh’d
* upon the diverfity of Manners ; Neverthelefs this is but of fmall confequence here ,
provided one be careful not to break it in three faces as in the other Orders they do ;
in which cafe, the fault: would be remarkable.

Behold then in grofs as ’twere a rough draught of the Dorique Order , upon which
one may with cafe find'out all the feveral parts of its members in particular , with
their refpedive meafures, which is by this expedient found alwayes within the regu¬
lar terms of its extent.- \ ,V.., o.:; f\tA

I fhall touch fome of the Principal, only, that I may facilitate the way ; referring
you for. the reft, to the Defigns , where every thing is fo clear, and punctual, that ha¬
ving once conceiv’d the Model (which I make ufe of throughout) to be the Semidia-
meter of the Colomn, divided into thirty Mimtes;md,tha.t I continually begin to meafure
the projettures of every Profile from the Central line of the Colomn , to have ( in the
mean time) with the proportion of the Members, the right pofition, and juft level of
the Pillar , all the reft admits not of 'the leaft imaginable difficulty : for prefently
you! find, that thirty minutes making the femidiameter , fixty muft compofe the whole
diameter , and forty five the three quarter ; forty, two thirds ; twenty, one third ; fif¬
teen a quarter, and fo of the reft, as I have exprefly obferv’d it, that I may by the fame
means make you comprehend, hoW I have reduc'd all the Meafures of my defigns by
minutes, without making ufe of the terms of Module, Diameter, Thirds, Quarters, or the
like proportions, to avoid perplexity, and cumbring the defigns with fo much wri¬
ting ; and indeed, for that they arfc not precife enough, and would have often ob¬
lig’d me cofuperadd the minutes , and to repeat one Module and three Minutes, two
thirds of a module and four minutes, a quarter of a minute, half a module and two minuies,
with a number of fuchlike fradions, which would have created much unprofitable la¬
bour, and bred infinite confufion.

This eftablifh’d, let us proceed to the application, and take our Dorique Order a-
gain in pieces. But left the Variety which we frequently encounter amongft the
defigns of the modern Authors that 1 have here colleded, fhould hinder us from re-
folving upon fomething fix’d, and determin’d, I will only purfue that Antient Exam¬
ple taken out of the Theater of Marcella 6, as being the moft regular of all the reft, by
the univerfal fuffrage of thofe of the Profeffion ; and fo conformable to what Vitruvius
has written concerning the general proportions of this Order , that fome are of opi¬
nion he was himfelf the Archited of this magnificent work. But I muft confefs, I
am not of their faith, becaufe of the Dentelli which are cut in the Cornice ; for Vitru¬
vius in the fecond Chapter of hh firft Book > plainly interdids them the Dorique Order, as
being naturally affeded to the lonique : but this Qutfiion concerns not our prefent dif-
courfe.I find then that the whole jbaft of the Colomn has in length feven times its diameter ;
which on the foot of the divifion of the half diameter in thirty minutes (for in all th is
Treatifel ever take the femidiameter of the Colomn for the module of the Orders') make
four hundred and twenty minutes, which amounts to fourteen modules. The height of the
Chapter contains thirtj minutes , which make one module ; as does likewife the Archi¬
trave ;

14 A Parallel of the antient ArchitePhirt

trave : The Freeze with its Fillet ( which is that fiat , and thin band or lift which
ieparates it from the' Cornice ) has one module and a quarter , which are thirty feven mi¬
nutes and dn half ; fo that all thefe modules computed together , and the number of
their minutes reduc’d to a total fum , the altitude of the entire Order amounts to eigh¬
teen modules and three quarters , which make up five hundred fixty two minutes and an
half \ and the Entablature (which is the Architrave , Freeze , and Cornice') being to con¬
tain one quarter part of the Colomn(y\\\ch. is its regular proportion)comprehends juft
an hundred twelve minutes and an half which are three modules and three quarters ; and
which I exprefly repeat, that I may yet add, that though all the Examples of this Order
( which may be as well found amongft the Antients , as the Modern ) have not always
the Entablature comprehended within the fame Termes of Modules that this has here^
they may yet notwithftanding be according to rule in the general proportion ; pro¬
vided that the Entablature contain a quarter of the Colomn ; which is neither limited
to fourteen Modules , nor yet to fifteen , but may fometimes advance even to fixteen and
more as occafion prefents it felf : So that a Colomn of fixteen Modules fhall have a
higher Entablature then one of fourteen. But then it is neceffary, that all this diffe¬
rence of one Entablature to the other happen only in the Cornice , in regard that the
Freeze , and the Architrave have alwayes their precife and determinate meafures :
The one has a Module ; the other Module and an half without any refped to the dif¬
ferent height of the Colomns . Now the Cornice being to fupply what is deficient to

arrive to the fourth part of the Colomn , Us evident that its particular proportion
muft depend on that of the Colomn ; and that the Cornice of one Profile , can never
ferve for another, though it be of the fame Order , unlefs the height of the Colomns be
likewife equal in them both , which thing ought very diligently to be confider’d :
that from this obfervation a man may arrive to a good, and judicious examen of all
thofe Profiles which the Modern have given us of this Order * andunderftand fuchas
are worthy the being follow’d : For the general proportion being once defe&uous.
Us in vain to fearch for it in the retail , or minuter parts ; becaufe that is necefla-
rily relative, and that the one, cannot poffibly fubfift without the other.

But to the end we may render what we have difcufs’d eafie to the Reader, who
happly, for want of pradlife may find himfelf at a lofs, I am going to deliver him
a Method extraordinarily fhort and expedite, by means whereof, he may inftantly
make it without the leaft diforder or confufion,

He muft take the whole height of the Entablature of the Defign which he would
examine, and thereof make a multiplication conformable to the proportion which it
ought to bear with its Colomn , having ftill a regard to the Order which it reprefents.
Put cafe for example , one quarter , as in this of the Dorique ; he muft multiply the En¬
tablature by four ; if it be a fifth (as we fhall fee in fome of the following Examples
of the Corinthian ) he muft multiply it by five; and fo of the reft : For the total
of this multiplication ought to give us precifely the height of the Colomn ; and
wherever this does not quadrat, certain it is, the Profile is irregular.

I

with the Modem. j $

Ifliould.be too prolix if I pretended to decifer thus by fmallerfcruples, and mi¬
nutes all that belongs to thefe Principles , and whiles I think to render my felf intel¬
ligible, by a tedious difcourfe and Calculations, become in fine both confus'd and
troublefome to my Reader , who doubtlefs will fooner comprehend it all by feeing
my Defigns , fince Words are never fo exprefs as Figures .

i

1 6 A Parallel of the antknt Architecture

CHAP. III.

A Particular remarkable in the Profile, drawn from

the Theater of Marcellus.

1 Admire that of all our modern Architects, the greateft part whereof have feen, and
fpoken of this Example, as of the moft excellent Dorique model which has been left
us by the Antients ; there is not fo much as one of them who has followed, or perhaps
well obferved in the Original the juft compartment of the members of the Capital, nor
the height of the Freeze, the which I find here vifibly lefs then that which they allow
to their Defignes ; though fome of them (particularly Vignola ) have propofed the
very fame Profile for the Rule of the Order ; but with fo much alteration in its mem¬
bers, that there is not one of them remains entire : A man fhall eafily find it by con¬
ferring them together ; all the deftgns of this Affembly being therefore fitted to the fame
Scale As for the Capital, they do all without exception affed: the dividing of it in three
parts , as Vitruvius will have it in his fourth Book , Chap. III. giving one to the Hypotra -
chelion, or neck of the Pillar ; the other to the Echinus bracelets, or fmall mouldings ;
and the third to the Abacus or plinth of the Capital ; whereas they ought tohavecon-
ftdered, that the Text of this Authour, befides that it is oftentimes fufpicious,and efpe«
cially then when he is not conformable to the pra&ice of the Antient Mafiers his Con¬
temporaries , it is by no means juft, he that fhould prefume thus to carry it a-
gainft fueh Examples as this here, which is without all reproach and exception. It had
been more reafonable that they who propofe it for their model, had at Ieaft been fo
difcreet as to have added nothing, but left him in his original proportion. As for thofe
others who have formed deftgns after their own fancies, they are no more to be blamed
for having followed the opinion of Vitruvius, and obliged themfelves to the terms
which he has prefcribed, though they might haply have well difpenfed with it, and with
more reafon have imitated the Antients where this irregularity is not to be found. The
Crown of the Cornice is alfo fufficiently obfervable for its extraordinary proje&ure, and
which is after a fort augmented by the floops which the Architect has given to the drops
which compofe the ornament of the nether face, and which fall on the Triglyphs. Now
albeit this piece o fOptich be admirable in this huge Colofi of Building, yet is it by no
means to be indifferently ufed every where, and upon all occafions , for in places
much inclofed, where there is not ample fpace and freedom for the Eye, as the infide
of Churches, See. it would produce but an ill effefh Wherefore I have thought it ne-
cefiary to propofe here divers antient Examples upon each Order, that I may thereby
give opportunity to thofe of the Profeffwn to make ufe of them judicioufly ; regard
being duly had to the Place, and the Occafionc

with the Modern.

4< U| 4*^

A Parallel of the antknt Architefture

18

CHAP. IV.

Another Profile taken from the fragments of the Dio¬
cletian Bathes at Rome.

THIS Profile was one of the rrioft excellent pieces of Architecture in the Baths of
Dioclefiams far at leaft as 1 am able to conje&ure from a good number of draughts
which lye yet by me, all of them defigffd by the fame hand very neatly, and meafur’d
with extraordinary ftudy ; although fome of them methinks appear to be fufficiently
licentious : But this Profile is of fo noble a compofition, and fo regular, that it’s no¬
thing inferiour to that which went before : And though the fpecifique proprieties of
this Order are to be fingle and folid ; yet are the Ornaments here fo very judicioufly
applyed upon every of the Members, that they conferve the one without the leaft
violation to the other*

It may ferve upon fome occafions where that of the Theater of Marcellas would
net be fo proper, in as much as the proje&ure of its Cornice is a great deal lefs ; add
to this,the curiofity of its mouldings which allure the eye to confider them at a nearer
diftance.

The general Proportion of it is not abfolutely conformable to that of our firft Ex¬
ample ; and the difference makes me judge, that the Column belonging to it contained
eight diameters , that is to fay, iixteen Modules ; for fo the Entablature ( which is of
four Modules high) comes to make up a fourth part of the Pillar.

That which is confiderable in this Profile , as univerfally obferved through all the
Moderns for the height of the Freeze, is, that in this partition of the three members of
the Entablature , the flat Fillet which forms the Capital of the Triglyphs compofes a part
of the Cornice , and is not compriz d within the limits of the Freeze , though in that of
Marcellm s Theater I have made it to be a part , to the end we may religioufly preferve
our felvcs within the termes of the general rules of the Order, which precifely requires
that the height of the freeze fhould be of one Module and an half, that fo the fquare in¬
tervals of the Metops with the Triglyphs (which is indeed an inconvenience very great,
but withall moft neceffary) may be handfomely adjufted. To the reft, I will not af¬
firm pofitively that the Column of this Profile was without a Bafts , for my defign gives
me onely the Entablature and Capital ; though 1 might well be inclin'd to think fo for
the reafons before deduc d., and amply demonftrated in the fecond Chapter.

with the Modern

A

A Parallel of theantient AtchitePlwe

CHAP. V.

Another very antient Profile after the Grand Maniere
elevated in Perfpe&ive, and now extant at Albano
near Rome.

I Conceiv’d it very advantageous, and indeed in fome fort necelfary the better to
reprefent the beauty and goodly effed of this Profile , to give you one elevated in
Perfpettive ; becaufe I would gratifie the eye with as much as Art is capable to add
to the real and natural Beliew , and fhew how it ought to fucceed in the execution.

This incomparable Borique Mafter-piece was difcovered at Albano, joyning to the
Church of St. Mary , amongft divers other old fragments of Architecture very curious,
and of which I have a good number defignd, and with great diligence examin’d as
to their meafures, though drawn fomething in hafte and as it were in palling, by
the hand of the famous Pyrrho Ligorio .

That which I particularly efteem in this is a certain grandure of Manner majeftical
and furprifing which is altogether extraordinary ; all which refults from its having but
few members, and from the largenefs of thole which it has ; an account whereof I
have already given, fpeaking of the difference of Manners in the fecond Chapter . For
the reft, the ffjaft of the Column ftands limply on a ftep which ferves it inftead of a
Plinth , as I have here reprefented him.

Now to the end this defign may not only prove agreeable to the eye, but likewife
profitable to thole who fhall defire to put it in'pradice, I have alfo accompanied it
with its Profile , and particular Meafures.

I advertife moreover, that the Pillar has fifteen Modules in height, and the
Entablature three, with two thirds, which amount juft to the quarter which is the
regular proportion of the Dorique Entablature with the height of its Column : I have
omitted the Profile of the Capital for want of fpace, as likewife for that it is fo little
differing from the ordinary in its mouldings, and fo perfectly refembles it in pro¬
portion.

That which is moft worthy remark, and indeed to be admir’d in this Compofi-
tion, is, the richnefs, and extraordinary form of his Modilions , which lying plumb
over the Triglyphs , and being as it were a kind of Capitals to them, produce a mar¬
vellous effect, which is yet much augmented by thofe great Rofes of the Sofitto or Eves
of the Corona, w hich having an extraordinary projedure, render th e Order altogether
Gigantique • and this is properly that which they term the Grand Maniere .

with the Modern.

It

22

A Parallel of the antient ArchitePlure

CHAP. VI.

A Judgment in general upon all the Authors fummorid

together in this Collection.

THAT the Reader may now come with fomekind of preparation to the par¬
ticular Examen of the Defignes which follow, I (hall here endeavour to give
him a general hint of the feverall talents and abilities which I have remark’d
in every one of thofe Mafiers we are taking a furvey of in paragon one with the
other*

The firft of all is without any conteft the famous Andrea Palladio , to whom we
are oblig’d for a very rare Colle&ion of antique Plans and Profiles of all forts of
Buildings, defign’d after a moil excellent manner, and mcafur’d with a diligence fo
exaft, that there is nothing more in that particular left us to defire : Befides the very
advantageous opportunities which he has had at Venice , and in all the Vincentine his
native Country do leave us fuch markes as clearly fhew d him not onely to have
been a Senator of thefe great Mafiers of Antiquity ; but even a Competitor with
them, and emulous of their glory.

The Man who neareft approaches to him is alfo another Vincentine , Vincent Sea -
mozgi by name, a far greater talker (as well appears in his Books) but a much in-
feriour workman, and Ids delicate in point of defign : A man may ealily perceive
it by the Profiles which he has left us of the five Orders , the manner whereof is a little
dry ; befides that, he is very poor and trite in his Ornaments, and but of an ill
gufio : He is notwithftanding this the neareft that approaches him as to the regula¬
rity of his proportions, and the moft v/orthy to be parallel d with Palladio.

Sebafiiano Serlio and Jacomo Baroygio furnanf d Vignola hold of' the fecond Clafl ;
and albeit they have both follow’d contrary wayes, and very different manners, yet
1 forbear not to place them in the fame range , and am indeed in fome difficulty to
determine which of the two has deferv’d more of the Publique ; were it not that
one might fay, the firfi had the good fortune to work for Mafiers who needed onely
to be fihew’d the Idea of the things in grofs, without having any thing to do with the
retail of their Proportions ; and that the other onely propos d to himfelf the inftru-
&ion of young beginners, and to deliver to them the rules of Art and good defign :
But it were of excellent advantage for us all that Serlio s Book had been defign’d
like that of Vignola ; or that Vignolas ftudy and diligence in learching, had been e-
qual to that of Serlio.

The

with the Modem 25

The famous Commentator of Vitruvius , Daniel Barbaro Patriarch of Aquilea , whoni
with very great juftice we may fitly ftyle the Vitruvius of our Times, fhall in this place
befeatedin the middle of all the Mafters to be their Prefident; as being indeed the
Interpreter and Oracle of the very Father ofArchiteCfs : and his Companion Pietro Cataneo
( whom I aflign onely to prefer ve an equal conformity in my defigris of compa¬
ring Modern Authors ) fhall fcrve only as a petty Chaplain in the retinue of this great
Prelate though he might well claim Peer age even with the moft part of the reft.

Among the other latter four, I have a particular efteem for one above the reft, and
that is LeonBaptifta Alberti , the moft Ancient of all the Modern^ and happly too, the
moft knowing in the dr* of Building , as may be eafily colle&ed by a large and ex^
cellent Volume which he has publifhed, wherein he fundamentally fhews whatever is
neceffary for an ArchiteCi to know. But as to the Profiles of the Orders themfelves
and his regulation of them, I cannot but ftrangely admire at his negligence in drawing
them no more corre&ly, and with fo little art himfelf being a Painter ; ftnee it had
fo notably contributed to its recommendation, and to the merit of his works. But
this I have reform d in our following ColleClion , and believe in fo doing to have per¬
form’d him no little fervice,as happly in danger to have otherwife never been follow’d;
there being hardly any appearance, that whilft the defigns of his Book were fo pitifully
drawn, being made ufe of in work, they ftiould ever produce fo good effect*

To the moft Antient I would affign for Cor rival, the moft Modern, that by confron¬
ting them to each other, we might the better come to difeover whether the Art it
felf improve and proceed to any further perfe&ion, or do not already begin to im¬
pair and decline. Thislaft Author, namely Viola, is of the Categorie of thofe which
the Italians call Cicaloni, eternal Talkers to no purpofe. He, whilft he propofes to
himfelfto write of the Orders and Proportions of Architecture, of the Rules of PerfpeCtive,
of fome Elements of Geometry and other the like dependencies on his principal Sub¬
ject, amufes himfelf, poor man, in telling ftories ; fo that in fteadof a Book offdr-
chitedure, he has made (ere he was aware) a Book of Metamorphofes. Befides he has
this in common with Leon Baptift Alberti, that his defigns are both very ill-contriv'cJ,
and executed ; notwithftanding he follows a more elegant manner, and conforma¬
ble enough, to that of Palladio ; but the Method which he ufes in his partitions is fo
groft, and mechdnique, that he reckons all upon his fingers, and feems to have never
fo much as heard fpeak either of Arithrnetique or Cyphers.

Concerning the two which remain,a man cannot well affirm them to have been in-
feriour to thofe who preceded them, nor yet to have been of the fame force with tire
firft, though I conceive they may well compare with three or four of them at leafh And

Thele are two French Mafters fufficiently renown’d both by their Works and Wri¬
tings ; Philibert de Lorme, and Jean Bullant, whom yet I do not here place in the laft
range as being at all their inferiours ; but onely that I may feparate them from the
Italians who are in far greater numbers.

CHAP. VII.

24

A Far allel of the antient ArchiteZhre

CHAP. VII.

Palladio and Scamozzi ufonthe Dorique Order.

LE T us now then pafs to the Ocular Demonftration of the precedent Chapter by
the Parallel of the Architects which I have there afiembled together, and whofe
dtfigns I am haftning to examine by comparing them with our three Antique Defigm,
that according to their more or lefs conformity with thefe Original Models, we may
pronounce concerning their merit, and fee what efteem they indeed deferve. From
this confideration it is, that of all the choice of the other Maflers, I have extracted
Palladio and Scamozgi, who having propos’d to thernfelves the imitation of the antient
Architefis by ftudying thofe admirable Monuments yet remaining in the City of Rome,
have follow’d a manner infinitely more noble, and proportions more elegant then thofe of
the School of Vitruvius.

The firft Profile of Palladio hath a great affinity with our fecond example, Antique ,
taken out of Dioclefean s Bathes ; for excepting onely the Dentelli which he may have
with reafon omitted, all the reft of the Entablature is upon the matter the fame.

He has likewife been fodifcreet (being peradventure oblig’d to follow the vulgar
errour, which will have the Bafe of a Column of this Order to be all one with the others)
to advertife before hand by an example which has none at all, that the Antients did
never ufe it after this manner. . ~‘~

He allows but fifteen Modules to the Column , without Bafe, and with its Bafe he
makes it of lixteen, and fometimes proceeds even to feventeen and a third. The reft
of the meafures are fo diftin&ly mark’d upon the Profile , that it were fuperfluous
to explain them.

Scamozzi gives ever precifely feventeen Modules to his Columnes , accommodating
it with the fame Bafe that Palladio does ; but to a great deal lefs purpofe, in as much
as he thinks fit to deck the Tores with I know not what delica te foliages, .which does
not at all become the Order ; no more then does the Ionique fluting which is abufively
employ’d in this place in ftead of the natural Dorique. His Entablature (as well as that
of Palladio ) fufficiently refemblesour fecond Model , to which he has onely added a
(mall cavity betwixt the Corona and the greater round, a thing not at all confiderable.

The Compofition of his Profiletdken in grofs, and altogether fimple appears of a
great Idea, but the Ornaments are to be reje&ed. ‘ v '

* 1 < • . , , V ' \ . 'A ' - ■

\ j> ,.S\v. •• .j . * ' ... j

• ' ' ’ I f

r\ ^ >o,r I , f -

../ij jJl!: 1 J ! l J i:.-

■ r n

iLi lii

onv/

with the Modern i 2$

A Parallel of tht antient Architedlure

%4l

CHAP. VIII.

Serlio and Vignola upon the Dorique Order.

THESE two Mafters are infinitely oblig’d to their Interpreters who produced
them firft amongft the Tramontani and ftrangers, and particularly to our work¬
men in France who hold them in very great eftimation ; And though they are in
truth highly worthy of it, neverthelefs being compar’d to the preceding two? they
lofe much of their luftre, and come exceedingly fhort of them.

This the Reader may eafily find by comparing the one to the other with the Antient
Originals which I have prefixd as the Lantern and Comp aft of all true Architecture .
But it were not juft we fhould treat Serlio in this Examen with the fame rigour we
have done his Companion ; for that intending to follow Vitruvius (who is the moft
renown d and venerable Author of the Antients ) he has worthily acquitted himfelf ;
Whereas Vignola who has purfu’d another courfe, really a more noble, and the very
fame which 1 alfo obferve here, knew not how to proceed without deviation. The
Dorique Profile which he here prefents us, is taken out of the firft Order of the Theater
of Mar cellus, and the moft worthy example of' this kind which is to be met with
amongft all the Roman Antiquities , and of which alfo I have made choice for the firft
model of this Collection , with this onely difference, that 1 have precifely obferv’dall
the meafures and allowances of the Original, which you will perceive in this Au¬
thor to be exceedingly changed, particularly in the Cornice and Capital : The com¬
paring of the two defigns will in one inftant afford more light to the Reader, then I
can do by the difcourfe of an entire Page.

Serlio gives here fourteen Modules onely to his Column , comprehending the Bafe
and Chapter ; and the height of the Entablature amounts to three Modules and a little
more then two thirds, in fomuch as (contrary to his ordinary cuftom) he extremely
exceeds the quarter of his Column , which is the largeft proportion that the Antients
did ever pra&ife ; fo as this great excefs puts me in doubt whether the Text of Vitru¬
vius upon which he relies be not corrupted in that place ; or elfe, when he fpake of
that Column , he did not mean the Shaft without its Capital : for fo by adding one
Module more ( which is the precife height of the Chapter ) the entire Column would be
fifteen Modules, and confequently the Entablature hold proportion conformable to
the Antients.

Vignola forms his Column of fixteen Modules, and the Entablature of four, which
is exa&ly the fourth part of the Column , and which makes it appear very regular : As
touching the Bafe introduc’d by the Moderns into this Order , I have already declar’d
my Opinion concerning it*

: • ” r.irrrr: . v" - ••“•}' " ; * " »

; . • \ f-;- r * . y.

- - - - I ‘1

' V • ' ■ 1

37

\

28

A Parallel of theantient Architecture

CHAP. IX.

Daniel Barbaro, and Pietro Cataneo upon the

Dorique Order.

This is here the perfeft School of Father Vitruviu* , whofe very name and
authority does extremely recommend it to us. Not that we are oblig’d in¬
differently, and without choice to follow all thofe who pretend to have underftood
this grave and abftrufe Authour ; feeing every man ft rives to make him of his own
party, and to accommodate him to his particular Genius.

The very beft of them all was without exception Daniel Barbara, as well for his
excellent Commentaries, as for the exa&itude, and cleannefs of his defigns. A man
may perceive by the Parallel of his Profile with that of Cataneo his adjunft ; of Ser-
lio in the page before, and fome others following this Clafi, that heprefides here as
a Mafter among his Difciples.

It were an amufement to no purpofe, and very impertinent fhould I quote every
minute and fmall difference of one defign from the other ; fince the Reader may better
fee it by one caft of his eye, then I can deferibe it to him in all the reft of this Page.

I will add onely this general advertifement, that the proportion of' the Colomn,
with its Entablature, is the fame here which Serlio gave us before, without being ne-
ceffitated to repeat my own opinion thereof ; fince my Obfervation is upon Vitruvius,
and not againft thofe who have explained him.

Daniel Barbara has judicioufly introduc d a Bonder in the angular Metop of the
Freeze, thereby fignifying, that all Ornaments fhould be accommodated to the Or¬
ders which they are applied to ; and that this being of a robuft, and martial kind,
one may asoccafion requires, enrich it with Trophies of Arnes, Clubbs, Quivers of Ar¬
rows, and fuchlike inftrumentsof Warr.

To the prejudice of Cataneo § defign, I find that the Gula of thefuperiour part of
the Entablature is fomewhat too great, that the Projection of the Plinth of the Capital is
a little too fmall, and renders the whole Chapter mean, and fhort, which extremely
disfigures his Profile ; befides, that the Bafe below has that in excels, which is defe¬
ctive in the Chapter above.

with the Modern .

29

r

A Parallel of the antient Architecture

CHAP. X.

Leon Baptifta Alberti, and Jofepho Viola on the

Dorique Order.

AT fight of this firft defign of Leon Baptifta Alberti whofe Capital is entirely Gotique ,
one might with reafon wonder why I fhould fpeak fo advantageoufly of him
in the general Examen which I have made of the modern Architects , amongft whom I
affign him one of the principal places ; and in earneft I cannot excufe him here of
that ill relifh, and of this fo ill-favour d a Compofition, however he pretends to
have feen it, and to have taken it from fome antient fragments .* But fuppofe it true
(for a man may meet with bad ones enough) he might alfo have found others a great
deal more tolerable : That which falls out the moft unluckily for him in this his firft
production of Ml, is, that it is of very great importance for a man to begin well ;
finee the firft impreflion continues long, and introduces a confequence for thofe who
follow after. Neverthelefs, be it what it will, every man is obliged to accord with the
truth, and to judge of things honeftly, and without preoccupation. And therefore
to do him juftice, having firft condemned this defective part in his Profile , we are not
to rejeCt all the reft for that reafon ; feeing it is in truth very good, of a great and
noble manner. It has alfo much conformity with our third antique Example in the
Modilions , whofe projeCtures put into work would produce a noble effect, as may be
judg’d by the Perfpedive which I have made of it. His Architrave and Freeze are both
regular, and the Entablature entire to its exaCt proportion with the Column ; for it
confifts of four Modules in height, and the Column of fix. The proportions of the
Baft are likewife very handfome, fo as in the whole defign there is nothing fcandalous
befides the Capital , which may eafily be fupplied by borrowing from his Collegue
Viola, whofe Profile is fufficiently correCt, and upon the matter the very fame v/ith that
of Palladio whom I perceive he has imitated in all the following Orders as well as in
this here. But fince he endevours to difguife his theft as much as poflible in alter¬
ing lome of the mouldings, or mutilating fome member, he has here made a quarter
round in ftead of the direct Cymatium or Ogee of the Cornice , which is but a thing in¬
different, or tolerable at leaft in the Dorique Order , that of Marcellud s Theater being
the very fame.

i

31

with the Modern.

32

A Parallel of the antient Architetturt

CHAP. XI.

John Bulliant:, and Philibert de Lorme on the

Dorique Order.

TI S not without fome difficulty that I have been able to reduce the fecond Profile
of this Page to thetermes you here behold it, Philibert de Lorme having defign’d
it fo flightly, and in fo fmall a Volume (though that in his book be large enough) that
it had been impoffible to give any of the members its due proportion without the
afliftance of the Text, upon which he has made three large Chapters ; whereas by the
aid of fome better draught, he might ealily have fpar’d many words and letters of
direction extremely confus’d throughout his whole difcourfe, which he ufes to ex-
prefs the particulars of the proportions of each part of his Profile ; and this makes
me judge that the good man was no great P efigner? which is a Very ordinary defect
amongft thofe of his Profeffion : But this does not much concern our Subject in
hand, where we have onely to examine, whether the Dorique Order which he propofes,
has any conformity to the Antique , or at leaft to the Precepts of Vitruvius ; as one
may perceive by the Parallel of his Companion John Bulliant , who has followed
this old Author in his Profile very pun&ually, though he alfo produce others from
Antiquity , in which I find him not io juft and exaft as I took him to be in the mean-
ing of Vitruvim,

I will not here ftand to particularife the difference which there is betwixt thefe
two Archhdhj left I my felf fall into the fame inconvenience which I but now re¬
prehended in Philibert de Lome ; and for that the exadlnefs of my defigns have
neither need of illuftration or difcourfe : However, this I may add in favour of John
Bulliant , that he is the foie Senator of Vitruvius who has contain’d himfelf within
the regular termes of his Mafter as to the height of the Entablature , to which heal-
iowes three Modules and a half that precifely make the fourth part of the Column ,
which ought to have but feven Diameters in height, according to Vitruim Lib. IV.
Cap. L which amounts to fourteen Modules,

J t,

with the Modern.

. *

r**

H

A Parallel of the antknt Ar chit e dime

CHAP. XI I.

A very antknt Sepulchre to befeen near Terracina, at
the fide of the high way leading Naples.

AT Terracina upon the confines of the State Ecclefiajiic there is yet extant the
Vejiigia and footfteps of this fmall Maufoleum fufficiently entire joyning to
the Appian way, where that diligent obferver of all thefe antient Monuments Pirn
Ligorio having difcovered and (as one may fay) disinterr’d it (for ’twas almoft bu¬
ried amongft the brambles of a wild and uncultivated place as himfelf reports, at
the foot of the defign which he has made of it) took the plan mod exactly, and the
elevation of the Profile , upon which I have taken my directions to reduce it to that
Ichnographical form which I here prefent you. I was extremely glad to encounter
an example fo exprefsand convincing againft the abufe of the Moderns, who have
very inconfiderably introduc’d Bafes to the Columns of this Order ? of which I have
formerly difcours d fufficiently.

The four faces of the Edifice appear to have been all alike, and on that which re-
fpefts the Wefl, there has been fome kind of Infcription upon the Architrave , but
there now remains nothing legible.

The Mafonry is of huge fquare Brick. •> and the Columns with their Entablature are
made of Tiburtine ft one, the Pyramid being alfo of the fame material.

The Diameter of the Columns is near upon two Palmes , the Entablature makes a fifth
of the entire Order ; that is to fay, a fourth part of the Column , which was but feven
Diameters in height.

This Sepulchre feems to be fully as antient as the very Appian way it felfl

/

with the Modern . 3$

A Farallel of the antient Architecture

CHAP. XIII.

Of the Ionique Order*

^ W ** H E firft produ&ions ot Arts have alwayes been exceedingly rare, becaule it is
JL fo difficult to invent ; but it is not the lame of Imitation : For after men had
once feen Regular Structures, and thofe famous Temples of the Dorique Order men¬
tioned by Vitruviws and lome others, Architecture did not long remain in its In¬
fancy ; the concurrence and emulation of the neighbouring people advanc’d its
growth, and made it foon arrive to its perfection. The Iordans were the firft Compe¬
titors with the Dorics in this divine Art, which feem’d to be defcended from the
Gods themlelves to gratifie Mankind with more opportunity of honouring them ; and
though thefe had neither the advantage nor the glory to be Inventors of it,they ende-
voured yet to improve and raife it even above the very Authors. Confidering there¬
fore that the figure of a Mans body, on which the Dorique Order had been form’d, was
of a fhape too robuft and maffy to fit holy Places and become the reprefentation of
Celefliahhings, they would needs compofe an Order after their own Mode, and chofe
a Model of a more elegant Proportion, wherein they had more regard to the Beauty
then to the Solidity of the Work, which gave the firft occafion of calling it the Fe¬
minine Order , as indeed degenerating towards an effeminate foftnefs. And the truth is,
the Order of the Caryatides quickly fprung up after it, which was an extraordinary
affront to this poor Sex, and a very fhame to Architecture it felf^ for having fo irratio¬
nally employ’d a feeble and delicate thing to perform an office where ftrength and
folidity were the onely neceflaries. Vitruviws , and divers of the Modern fince him,
mention the Original of this Order , and tell us, that the Inhabitants, of a certain City
of Peloponnefus named Cary a, having made a league with the Perfians againft their own
Nation the Greeks , after the rout of the Perfians , were afterwards belieged by the
Conquerours, and fo barbaroufly faccag’d, that putting every man to the fword,
confuming the City to afhes, and carrying the Women away Captive, their venge¬
ance being not yet extinCf, they refolv’d toeternife their refentment by caufing pub-
lique Edifices to be ereCted, wherein for a mark of the fervitude of thefe Captives
they ingraved their Images in ftead of Columns , that lo they might overwhelm them
likewife under the weight of the punifhment which they had merited by the guilt of
their Husbands, and leave an everlafting memory thereof to future Ages: This is
the Example which Vitruviws has made ufe of to prove how neceftary it is that an Ar¬
chitect fhould be knowing in Hijiory , to the end he introduce nothing impertinently
in his works, and without good reafon. The Gotique Order , which is the folly and very
Ape of Architecture, in imitation of the Caryatides has compos’d certain lame figur’d
Mufils or Corbells in ftead of Cartouzes fuftained by I know not what Chimeras and ri¬
diculous Monkeys , to be met with in every corner of our old Churches ; but fome of
the Modern having ( with very good reafon ) found fault that fuch extravagances
fhould be feen in holy Places where reverence and modeftyare fo eflential, and con-
iidering how much more decent it were to fit thofe places with fome devout Repre-
fentations, without any refpeR at all to their Profeffion,or for want rather ofunder-

ftanding

" with the Modern. 7

Handing the propriety of the Orders of Architecture, have amufed themfelves to place
the figure of Angels and other Saints in Head ol the Caryatides ; making them like fo
many Slaves* o carry huge Cornices , ahd even entire Altars upon their fhoulders, teu:
ftifying thereby how prepofteroufly and without judgment they confulted Vitruvius
upon the occafion of the Original of the Caryatides : For they would otherwife have,
underftood that this Order cannot be employed or indifferently enter into all forts of
Buildings, and that it requires no fmall difcretion to be aptly and difcreetly placed :
Above all, that itfhould never be ufed in Churches , which are the Houfes of God, and
Afylums of Mercy, where fervitude and revenge ought never to appear. They
had proceeded much better to have oneiy ufed the plain Regular Order which we
are now going to defcribe according to an excellent Antique Example taken from the
Temple of Fortuna Virilvs atprefent the Church ol St. Mary the Egyptian in Rome, the
Profile whereof has been fortunately met with among!! lome Papers of mine of that
great Antiquary Pyrro Ligorio ; whofe Manuscripts and Defigns are conferved as a very
rare Treafure in the Bibliotheque of the Duke of Savoy , which has furnifhed me with
a means to examine and verifie divers Meafures that at prefent a man would hardly
know where to take ; and to repair the Cornice with its proper Ornaments, which are
now fo impaired through age, that ’it is extremely difficult to difeern them. This is
then the Model l fihall follow, and which fhall here ferve for the Rule of this Order,
having with mature confideration, and for divers reafons preferr’d it before that
which is in the Theater of Marcellus, from whence I have taken the Donque ; which
neverthelefs I fhall propofe in what follows, remitting others who concurr not with
my opinion to their own affe&ion and fancy.

c But before I enter upon the retail: of its proportions (for recommendation of this
Order, and the curiofity of the Reader ) I v/ill here recount: to you the names of fome
famous Temples built by the People of hnia, whofe antiquity is at the leaf! of two
thoufand years. The moft memorable, though not moft antient, is that renowned
Temple of Diana, ereded (as fome think) by the Amazons in Ephefius. This was a work
of fo ftupendious a grandure, that there was fpent above two hundred years in finifih-
ing it, all Afia contributing to this ineftimableexpenfe. Vitruvius in his third Book. ,
Chap . /. fayes,.it was of the dipteryque figure ; that is, inviron’d with a two-fold range
of Columns in form of a double Portico ; It was in length four hundred and twenty
five foot upon two hundred and twenty. All thefe Columns were of Marble foventy
foot in height. The Archhed of this proud Edifice, according to the fame Vitru¬
vius, was one named Ctefephon , whom he mentions in his tenth Book , where he fpeaks
of an excellent Machine chat he invented to tranfport the Columns of this Temple ;
which for being of fo prodigious a length, that no ordinary force was able to move
and bring from their quarries, had been all to no purpofe, had not this extraordi¬
nary Genius di (covered fome artificial forces to lupply the deleft of others. This
Structure is efteemed for one of the Worlds [even Wonders : There were yet in the fame
City of Ephefus many other Temples of this Order ; whereof two (one dedicated to A-
polio , the other to Bacchus') are principally remarkable, as having been in fome fort
comparable to this firfi , had they received their ultimate perfe&ion ; but they were
left off unfinifhed, by reafon of the warrs again!! the Perfians , who were in conclu-

fion

3 3 A Parallel of the antient Architecture

fion the utter ruine and fubverfion of this People: For Cyrm having fubjugated
Afia, plunder’d all this Country, faccag’d their Cities , demolifh’d the Temple, and made
fo univerfal and barbarous a devaluation, that there hardly remain’d^ any thing of
fuch an infinity of ftupendious Monuments which this noble Nation had ere&ed
throughout all Greece : Notwithftanding this, he fpared that of Diana of Ephefus
whofe aftonifhing beauty ferv’d as a Bulwark, to the fury and rage of this mighty
Conquerour. In Athens one of themoft flour idling Cities of the World, there was
alfo of the lame Ionique Order a very great number of Temples, amongft which, that of
the Delphic Apollo and his Son Eficulapm were highly celebrated. There is yet to be feen
in the fame place certain Vefligids reduc’d to the form of a Citadel ', which they report
to have been heretofore the Temple of' the Goddejl Juno Attica . I could enumerate di¬
vers others like thefe, of which the Antiquaries we have cited report marvels; but
in general termes, and without any benefit to the fiudiou* of the Art, who ftand in
need of fome more eflential remarks and inftru&ions. I will therefore manage the
reft of this difcourfe in defcribing the Compofition , and the parts of this Order , confor¬
mable to the Profile which I have chofen for our Model, and which is precifely taken
from the Antique .

CHAP. XIV.

\ The Ionique Profile taken from f A* Temple of Fortuna Virilism Rome,
Vbhichis atprefentthe Church of St. Mary the Egyptian.

According to the opinion of that threefold grand Antiquary, Painter , and Archi¬
tect Pino Ligorio, of whom I have heretofore fpoken, and from whom I have
borrowed this Profile, I may fafely propofe it for one of the moft regular Examples
of the whole Ionique Order which is now extant of antient Architecture ; Add to this
the inftance which Palladio makes of it in his fourth Book and thirteenth Chapter,
being the onely one of this Order which he has inlerted amongft the whole colle&ion
of his Studies ; fo as thefe two great Mafiers approving theele&ion and judgment I
have made thereof, it is not to be doubted for a Mafier-piece of fupreme perfe&ion.
I will therefore make the general defcription thereof, deducing the principal Mem¬
bers and proportions in grofs, without amufing my felf with the fmaller retail of
the meafures of each particular part, which the Defign ought to fupply.

The entire Order from the Superficies of the Area to the Cornice , contains eleven
Diameters of the whole Column , which amounts to twenty two Models .

The Column with the Bafe and Chapter has eighteen Modules.

The ’Entablature (that is to fay. Architrave, Freeze, and Cornice') contain four Mo¬
dels lacking four Minutes, which are not considerable upon the total ; and this height
making two nineths of the Column produce5 a proportionate mediocrity ’twixt that of
the Dorique Order before deferib’d ( whereof the Entablature compofes one quarter)
and that of the Corinthian ( as we Shall fee hereafter ) to which the Moderns do ordi¬
narily attribute a fifth part.

The Voluta of the Capital is after an oval form, producing a very noble effeft , not¬
withftanding that none of our ArchiteCis have put it in practice ; but the reafon in my
opinion, is, the difficulty of tourning it with a grace, and for that they are generally
accuftom’d to do all with the Rule and Compaft, which are here in a manner ufelefs.

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55

A Parallel of the antient ArchitePlure

40

CHAP. XV.

Another Ionique Profile taken from the Theater of
Marcellus at Rome.

SOME may imagine that I ought to have effablifh’d mine lomqut Order upon this
Example, being as ’twere the twin-Brother of thefirft Dorique with which I have
commenced this Collection of Architecture, being both of them extracted out of the fame
Edifice, which is the Theater of Marcellus. And to fpeak truth, it was my firft de-
fign : But fecond cogitations being ordinarily the more judicious ; I have fince con-
fidered that the amplenefs of the Entablature with its extraordinary plainnefs, was a
particular effeft of the Architects diferetion, who refolving to place this Order in an
exceeding large Building, and alfo upon an elevated place, where the fight could
hardly enjoy thofe Ornaments wherewithall it is ufually enriched, had regard onely
to the reformation of that by a rule of the Opticks, which the Eye might poflibly find
fault with in the grace of its general proportions from the diftance of its Elevation ;
fo that we may affirm of this Profile, that it does excellently well in Work, as ’tis placed
in the Original ; but would not fucceed fo well in another of more mediocrity ; and
above all in a work of one onely Order, unlefs it were of a Coloffean magnitude ; which
is yet in truth neither proper nor natural to its feminine kind : However I will here
prefent you with its Proportions as well as with the others.

The height of the entire Order is twenty two Models, and two thirds.

The Column with her Bafe and Chapter hath but eighteen, and thofe precife enough ;
fo as the whole Entablature confift ing of four and two thirds, it happens to be of an
extraordinary grandure, in as much as it exceeds a quarter of the Order, -which is the
largeft Proportion can juftly be given even to the Borique it felf.

The ProjeCture or Jette of the Cornice is alfo a little extravagant; but the Architect
has for all that fhewed himfelfvery judicious, having refpeft in that to the entire mafs
of the Building, and to the eminence of the fire of this fecond Order; For the fame
reafon he afforded but very little diminution to the Column above.

The Volutds of the Capital are Oval, as in the precedent Order, and this fhape of
the Valuta's was much pra&isd by the Antients ; but the method of tourning them with
the Compaji is fomewhat difficult, and has never as yet beendemonftrated.

42 A Parallel of the antient 'ArchlteBure

•: , CHAP. XVI.

The PerfpefHve Elevation of a Profile drawn from the
Baths 0/Dioclefian at Rome.

I Would needs make an Elevation in Perffeffhe of this Profile , that fo I might add
fome variety to my defigns, and for that likewife it is an advantageous means to
reprefent the Idea of an Order, and the effeft which it produces being put in Work.-, for
their fakes who are not much practis’d in the Myftery. This piece flood in the Bath
of Vioclefian at the angle or coinage of a return of a Wall, as I have found out by a
Defign of mine very antient and of a good hand, where the Proportions as Well of
the Plan as of the Profile are exa&ly noted, even to the lead particulars. I have re¬
duced and accommodated them to the divifion of my ordinary Model , as you may
perceive them on the Profile which is under the Perffeliive Entablature.

The height of the whole Order , from the Bafe to the top of the Cornice , amounts
to ten Diameters and a fourth ; which, according to our manner of meafuring con¬
tains twenty Models and an half; which being divided ’twixt the Column and the En¬
tablature takes up fevenreen , and the three Models and half remaining make up the
height of the Entablature : Now though there be a confiderable difference in the al¬
titude of our firfl lonique Example, and this here , it rather yet conlifls in the total
quantity of the Order , then in the proportion of their parts ; for I find here that the
Entablature compared to its Column has alfo the fame relation of two ninths ; which
is to fay, that the height of the Column divided into nine parts, that of the Entablature
comprehends two of them ; which is a Symmetric particularly affe&ed to this Order?
as I have elfewhere fhewed*

The Volutas of the Capital were tourn’d with the Compafi , after the manner I fhali
hereafter defcribe in a Page by its felf, and with which I fhali conclude this Order .

with the Modem

44

A Parallel of the antient Architecture

CHAP. XVII,

Palladio, and Scamozzi#/wz the Ionique Order.

, C ; ' A'

TH E R E is fo great a refemblance ’twixt the mouldings and the medfures of thefc
two Profiles, that the difference is hardly confiderable, unlefs it be in the fi¬
gure of the Capitals , which in truth is very different in fhape, though fufficiently re-
fembling in proportion.

The Voluta of Scamozgi is particular, and by confequence hath lefs of the Antique
then that of Palladio : But Scamozgi has excogitated this expedient, that his Capital
might front on all fides, not liking (it may be) this variety of afpedl which we find
in the ordinary Voluta s.

The altitude of the Column according to Palladio contains nine Diameters , which
make after our meafure eighteen Models ; of which he gives to the Entablature but
one fifth part, being the fame proportion which hereafter he afligns to his Corinthian ;
He had yet peradventure done better to have contriv’d for this here a more propor¬
tionable Medium ’twixt the Dorique and the Corinthian, proceeding by a certain grada¬
tion from the f olid kind to the more delicate. Moreover, I could have wifh’d that the
Cornice had rather been tooth d then Modilion'd, for the reafon already rendred in the
general Chapter of the Ionique Order ; which I mention onely to advertife (by the way
as ’twere ) what does in my judgment feem worthy to be obferv’d in this Profile,
which in the reft of the parts is exceedingly rare, and in this very particular notab-
lolutely to be condemned ; feeing things which may be improv’d, are not therefore
to beefteemed for ill.

As for Scamozgij befides that the fame obfervations which I have made on the
Profile of Palladium are repugnant to him, there is this yet worfe, that the Capitalhe ing
a great deal more mafiy, in ftead of giving a greater height to his Cornice, and com¬
posing it of more ample members, he has contrarily made it lefs, and cut off three
or four Small Beglets which renders it very dry and trifling.

46

A Parallel of the antient Architecture

CHAP. XVIII.

Serlio, and Vignola upon the Ionique Order.

v ... . . • . . . . . _ ‘■y>

THE inequality ofthefe two Profiles is fo wide, chat ’tis almoft impoflible to ap¬
prove of them both, and yet neverthelefs there is in a manner as little reafon
to condemn either the one or the other ; for having each of them their principles
fufficiently regular, together with their Authorities and Examples*

The firft, which is Serlio^ having made a handfome ColleUiion of all the moft confi-
derable Antiquities of Italy , from whence he fhould have taken a noble Idea of the Or¬
ders^ is returned back to the School of Vitruvius. j, whither the flendernefs of his Genius
has recalled him.

On the contrary, Vignola is falln with excefs into the other manner that we
name the Grand \ which though indeed more noble and advantageous, has yet for all
that its juft limits, which being once exceeded becomes vitious and extravagant.

Now the great difference of thefe two Mafters proceeds from Serlids making his
Column but of feven Diameters and an half, allowing onely a fifth part to the Entabla¬
ture ; and Vignolas compofing his of nine Diameters , and his Entablature of a full
quarter.

That which I chiefly reprove in this laft, is, that he makes ufe of th eBafe which
Vitruvius compofed for his Ionique ; a thing not to be excufed but in thofe who follow
him likewife in all the reft : For others who have endeavoured to imitate the Antique ,
have no reafon to employ it, there being no prefident for it. And in truth alfo it ne¬
ver has had the approbation of the ableft modern Mafters , who upon examination
have greatly wondred that Vitruvius fhould impofe fo vaft a Torus upon fo fmall Cin-
ftures. , charging the ftrong upon the weaker, which being totally repugnant to the
order of Nature , is very oftenfive to the eyes of the Curious*

48

A Parallel of the antient Architecture

CHAP. XIX.

D. Barbara^ and P. Catanco upon the
lonique Order.

YO U have here the very fame ftyle that Serlio has obferved in the precedent
Chapter ; And though there be much relemblance in the Profiles of all the three
Mafiers , neverthelefs we muft reckon that as to the meaning of Vitruvius ( to whole
Doltrine they have univerfally endeavour’d to conform themlelves) Daniel Barbarc is
the Captain and chief Conductor, as may eafily be difcern’d from the pattern of the
Contours onely belonging to the Voluta of the Capital , which is a mod effential piece in
this Order , and whofe true draught was never fo much as known to our modern Archi -
tells before Daniel Barbaro , to whom we are obliged for the recovery of this excellent
Mafter-piece of Antient Architeliure , though he has had the goodnefs to divide the
glory of it with his Contemporary and intimate friend Palladio^ by whofe conference
and help he acknowledges to have been affifted in the delineation of all his defigns.

I referve it for the conclufion of the lonique Order to make a Page apart of this
manner of Voluta , where 1 (ball fhew a way to trace it regularly according to our
Authors intention. And iince it is more compendious to paint then defcribe it, I
fhall better give you the demonftration by Pule and Compafi , then by employing a
tedious difcourfe about it.

I find nothing obfervable in thefe two Profiles befides a certain over-fimplicity
and plainnefs : For the reft, the difference of the Entablature , as well in relation
to the height, as fhape, is fo fmall, that it is nothing at all confiderable : What is
more worthy of remark inffhe defignof Daniel Barbaro , is this ; that he gives to every
face of the Architrave a certain Jlope or kind of down ward and inclining ftroke, as
’tis exprefly ordained in Vitruvius s third Book, towards the period of thelaftC^.
ter : But I find that the Rule of PerfieHive upon which he grounds it, is more re¬
fin’d andfubtile for its difcourfe, then any way folid in the execution , and befides,
I never faw an example of it in any work whatfoever.

I

5o

A Parallel of the antient Archite&ure

CHAP. XX.

L. B. Albert, and V iola upon the Ionique Order.

TH E conformity of thefe two Deftgns to thofe of Anderea Palladio and Scamozzq
is fo confpicuous, that one may eafily judge of their mutual affiftance of
each other : viz^ That Viola made bold with that of Palladio , as he did before in the
Dorique : and that Scamozgi has imitated L. B. Alberti who is his Senior above an
hundred years. For the reft, it were a difficult thing to decide which of thefe two
Profiles is to be preferred, in regard the Ionique Order has been fo diverfly treated of
by the Antients , as may appear in the Examples I have produc’d, of which there
are fome enrich d with Mouldings and Ornaments , others more naked and limple.
That which I fhould have wifh’d for here as conducing to a greater and more exad
regularity, fhould have been to have cut the Dentelli upon the flat Band of L. B. . Al¬
berti 's defign ; fince he has omitted Modilions there, which his Companion Viola for
obferving may the better be excufed of: Though for my part, I fhould have rather
employed Dentelli there, as an Ornament more particularly affe&ed to the Ionique Or¬
der , and have relerved the Modilions for the Order which follows next.

The Reader may remember, or elfe, looking back on fome Pages, refleft upon
what I have there obferved on the Profiles of Palladio and Scamozgi ; becaufe it fo
much agrees with that of Viola here ; To which I may yet fuperadd as a new charge,that
he has done ill to imploy another Bafe different from that of the Attique ; fince he few
how his Matter Palladio had preferr’d it before that of Vitruvius's Compofition; He
had alfo done much better to have followed precifely the Proportions of the Cornice in
the fame defign of Palladio ; for in attempting to difguife his imitation, by adding of
fome Members and changing of others , he has in fine rendred it but the more mean
and trifling.

with the Modern i ,, § t

' 4 S -

$2

CHAP. XXI.

Builant, and de Lorme upon the lonique Order.

THIS firft Profile is exactly after Vitruvius , as well as that of Serlio , Cataneo, and
Daniel Barbara which you have already feen : But there is in the other nothing
at all worthy of our imitation, as being neither conformable to any of the Antiques ,
nor to Vitruvius , nor in the leaft regular in its parts : For firft, the Cornice is ta-
mufe and blunt, the principal Members , vi^. the Cymatium and Cooping fmall and poor ;
The Freeze is larger then the Cornice , and the Bafe of the Column changed both in
flhape, and the proportion of its parts, as appears by the exceflive dimenflons of the
Tore, compared with the two Scotia's underneath ; befides that extravagant repeti¬
tion of the two Aflragals upon the Plinth . The Voluta of the Capital is alfo too grofs,
and fo is the Collar of the Pillar together with its Lift : In a word, the entire Com-
pofition is defervedly ranged in this iaft place : But after all this, I cannot but admire
chat a Perfon of this Authors Condition, who was fo extremely induftrious (as may
be eaflly deduced from what himfelf has publifh’d in his Book of Obfervations made
at Rome upon the Antiquities there ) who had fo great a natural propenfity to Ar¬
chitecture , and fo many opportunities of ftudying at his eafe, and of inftruding him¬
felf ; Who proceeded by fo cl i. red a Method of the Art, and in fine, was Mafter of fo
many handfome occafions of putting his ftudies into pradice ; That I fay a man fur-
nifh’d with fo many advantages, fhould neverthelefs emerge fo ordinary an Artifl :
But this (hews us, that we are many times deceived by our own Genius, and impor¬
ted to Things for which we have no manner of Talent,

i

54

A Parallel of the antknt Architecture

CHAP. XXII.

The Order of the Caryatides.

I Intend not here to repeat the HiJlorj from whence this Order has deriv’d its Origi¬
nal^ having already fo amply deduced it in the general Chapter of the lonique Order ,
whereof this is here but a Species ; all the difference confifting in the foie alteration
of the Column metamorphos’d into the Figure of a Woman, which for appearing
fometimes incommodious to Architects from the extreme over-largenefs of the Vefts
and Garments cumbring and difordering the Paffage and Symmetry of the Inter colunrm-
atm, caufed them to reduce it onely to the carving of Heads in place of the Capitals ,
where they adjufted and compofed the Dr effing and Tyre to the refemblance of Voluta's,
without any alteration in the reft of the Column , unlefs where they cut Channels or F lu¬
tings on it, to reprefent after a fort th eplaitings and folds of thef t Matrons Garments ;
finoe this Ornament is found to change neither the Diameter nor height of the Shaft ,
which are the Bafes , and as it were foundations of ArchiteCtonical Proportions.

That which I afferted before concerning the Caryatides in the general Chapter of
the lonique Order, fufficiently difeovershow few the occafions are where they can be
employed judicioufly ; notwithftanding fo many of our modern Architects take fo
great a liberty of introducing them indifferently into all forts of works : For not one¬
ly the Palaces of great Princes without, and within ; but even the ffoufes of private
Perfons , Churches, and Sepulchres themfelves are filled with them, without any regard
either to the reafon of the Hiflory, or to juft decorum : Nay oftentimes, out of an infup-
portable extravagance, in lieu of thefe poor and miferable Captives, they fee the vene¬
rable figures of the Vertues, Mufes, Graces, and Angels themfelves ; whereas they fhould
in truth rather chain and confine the Vices there.

But it is fufficient to have advertifed you of this Abufe without any further de¬
claiming againft it.

$6 A Tarallel of the antietit Architecture %

CHAP. XXIII.

Of the Perfian Order.

TH O U G H the name of this Order be lefs known then that of the Caryatides , un¬
der which it feems they would generally exprefs all thofe Orders where Figures
are introduc’d to fupply the places of Columns ; yet ought we not to follow the vul¬
gar abufe, feeing Vitruvius has put a difference betwixt ’em in the fame Chapter
where he {peaks of the Caryatides : And in regard this here fhould be fomewhat more
folid in reference to the Sex they ordinarily give him a Dorique Entablature , in con-
lideration whereof I had once intended to have rang’d it at the end of the Dorique
Order , or plac’d him the firffc here ; But confidering fince, that Vitruvius does not
treat of it till after the Caryatides. , I thought it became me not to innovate any thing
in a matter of fo fmall importance. I fhall therefore fatisfie my felf in advertifing
that the Romans very rarely made ufe of the Caryatides ; and truly we do not meet
with fo much as any Veftigia's of them, though Pliny in his thirty fifth Book, and fifth
Chapter has mention’d thofe of the Rotunda to the amufing of fo many of our modern
Antiquaries, who, through all that Temple (and which to this day remains fo entire) can
by no diligence find any commodious place nor appearance where they fhould have
been well defign’d : On the contrary, for thefe Captives after the Perfian there are ex¬
tant fundry Examples, fome whereof are yet to be fee n in the very places where they
were fet in work, as particularly in the Arch of' Conftantine , and fome others which
have been tranfported into Gardens and private Palaces , which were taken no body
knows from whence. What is here defign’d is from an excellent Original extant yet
at Rome in the Palace of Farnezi.

57

with the Modern.

\X£ X©

2N HE P

!

A Parallel of the antient Architecture

CHAP. XXIV.

Of the Contour or Turning of //?eIonique Voluta.

THE body of this Capital without its Voluta or Scroul bears a great conformity
to that of the Dorique , as may be ealily dilcerned by conferring their Profiles
the one with the other : For the diverfity of their form which at firft blulb appears
fo large to the eyes of fuch as have never examined the particulars of the Members
that compofe it, conlifts altogether in the application of the Voluta upon the Abacus^
which gives a mod advantageous variety to the lonique ; in as much as the draught
of its Contour does confift of die mod induftrious operation of the Compajl which is
pra&ifed in the whole Art of Architecture ; So as who ever of our modern Majlers he
were that retriv’d it (for ’twas a long time loft, and totally unknown to thole of the
Profeffion) he has render’d doubtlefs a very conliderable piece offervice to the Art.

That famous Painter Salviati , contemporary with the R. Daniel Barbaro , and by
confequent alfo with Palladio , printed a fmall loofe Iheet which he dedicated to D.
Barbaro as to the moft famous Arbiter of Architecture in his time, who alfo under-
ftood it, and had communicated if with Palladio who accidentally and as it were by
chance had been the firft Inveftigator of the praftice of it whiles he metamongft
fome antient Fragments a Capital of this Order ^ on whofe imperfect and rough-hewn
Voluta he obferved the thirteen Centers of this ffiiral line which gives it fo noble and fo
ingenious a Turn.

I will not here engage my felf on a tedious difcourfe about its defoription, it being
fo much a {hotter and more demonftrative way to advance to the direft Method of its
delineation : Thus then in general you are to proceed.

The height of the Chapter , and partition of each Member being defign’d, one mull
regulate the extent and proportion of the Abaca* conformable to the meafure deci¬
pher d upon the Profile at the point 32, and at the point 28 \ a little beneath. Where
the Cymafium encounters the Lift of the Scroul make a perpendicular line fo .as it may
pals through the very Center of the Eye of this Voluta marked A, till falling upon a
right angle by the co-incidence of another line proceeding from the middle of the
Collerine or Chaplet , the point of inter fieUdon give you the juft Center of the Eye : Then
about this Center defcribing a Circle of the widenefs of the Collerme (which Circle (as
was faicl ) points theprecife dimenfions of the Eye , and its true place of polition)
you (ball form therein a fmall Square^ through mhoic Angles having drawn two diagonals
(which cut it into four triangles ) divide each moity of the diagonals into three equal
parts, and each of thefe points (ball lerve for confequutive Centers one after another
by which to form thole feveral quarters of Circles which compofe the jfiiral line of die
Voluta. They are diftinguifhed by numbers on the defigrh according to the order by
which you are to proceed.

6o

A Parallel of the antient ArchiteUure

CHAP. XXV.

A Portico of the T emple o/Fortuna Virilis at Rome,
which is now the Church of St. Mary the Egyp¬
tian.

HAving throughly examined every part of the lonique Order , and obferved in
particular the fhape and proportion of all its Members ; It feems now in a
manner neceflary, the better to conceive a perfect Idea of them, to place them together
in one entire body, that fo we may contemplate the Symmetry and conformity which
they hold mutually to each other : I have to this effed made choice of a Frontifi-
pkce the moft noble and magnificent compofition an Edifice can poflibly be adorn’d
with ,* And to the end we may contain our felves within the juft limits which I have
eftablifhed, I {hall here make ufe of the lame Antiquity from whence I extra&ed my
firft Model whereon I do principally found the regularity of the Dorique Order .

Thole who (ball have the curiofity to examine the Flan of this Temple , with its
Meafures, and Profile of the Doore which is exceeding noble, may find it in the fourth
Book, of Palladio Chap . XIIL and at the fame time fee one of the moft curious pieces
of Architecture of that whole Book > which is the Plan of a Capital he calls Angular ,
that being plac’d upon the Column of an Angle renders a face of two (ides, by which
it preferves the fame afpe& with the reft of the Capitals which are on the Wings and
Front of the Structure,

with the Modern.

62

A Parallel of the antient Architecture

CHAP. XXVI.

Of the Corinthian Order.

TH E highed degree of perfection to which Architecture did ever^afpire, was
ereCted for it at Corinth , that mod famous and formerly mod opulent and flou- -
rifhing City of Greece , although at prefent there hardly remains any footdeps of the
grandure which rendred it even formidable to the people of Rome itfelf, but which
was alfo the caufe of her ruine : For this Nation impatient of Competitors, on pretence
that the Corinthians had done fome difpleafure to the Ambajfadors which fhe had fent,
took occadon of denouncing War againd her ; fo as the Conful Lucius Mummius going
thither with a great Army reduced their City to Afhes, and in one day dedroyed the
Work of more then nine Ages from the period of its fird foundation.

It was from thence that our Corinthian Order affumed its Original ; and although
the Antiquity of it be notprecifely known, nor under whofe Reign that Callimachus
lived, to whom Vitruvius attributes the glory of this excellent Production ; it is yet
eafie to judge by the noblenefs of its Ornament, that it was invented during the
magnificence and fplendor of Corinth , and not long after the Ionique Order to which
it hath much refemblance, the Capital onely excepted ; for there’s no mention that
Callimachus added any thing of his own befides that dately Member.

Vitruvius in the fird Chapter of his fourth Root reports at large upon what occa-
lion this ingenious Architect form’d the Idea of this great Mader-piece which hath
born away the Palm of all Architecture , and rendred the name of Corinth immortal:
And though the Hiflory which he there mentions may appear fomewhat fabulous in
the opinion of' Villalpandusy who treats alfo of this Capital in his fecond Tome Lib . F.
Chap. XXIIL neverthelefs it were very unjud that the particular conceit of a modern
Writer fhould prevail above the Authority of' fo grave an Author . Let us fee then
what Vitruvius fayes of it.

A Virgin of Corinth being now grown up, fell fick and dyed ; The day after her
Funeralls her Nurfe having put into a Basket certain fmall veffels and trifles with
which fhe was wont to divertife her felf whild fhe lived, went out and fee them up¬
on her Tomb , and lead the air and weather fhould do them any injury, fhe covered
them with a Tyle : Now the Basket being accidentally placed upon the root of an A~
canthus , or great Dock ., the herb beginning to fprout at the fpring of the year and
put forth leaves, the dalks thereof creeping up along the ddes of the Basket and meet¬
ing with the edge of the Tyle ( which jetted out beyond the margine of the Basket }
w^ere found ( being a little more ponderous at the extremes ) to bend their tops
downwards, and form a prety kind of natural Volnta. At this very time it was that
the Sculptor Callimachus ( who for the delicatenefs of his work upon Marble, and

gentilenefg

with the Modern.

gentilenefs of his invention was by the Athenians furnamed Catatechnos , (that is to lay,
Induflrious ) palling near this Monument , began to call: an eye upon this Basket, and
to conlider the pretty tendernefs of that ornamental foliage which grew about it, the
manner and form whereof fo much pleafed him for the novelty, that he fhortly after
made Columns at Corinth refembling this Model, and ordained its Symmetries diftr ibu-
ting afterwards in his Works proportions agreeable to each of its other Members
in conformity to this Corinthian Mode.

You fee .Vfchat Vitruvius reports : But Villalpandus who v/ill needs give this Capital
a more illuftrious and antient Original, pretends that the Corinthians took itfirftfrom
the Temple of Solomon, of which God himfelf had been the ArchiteSl ; and the better
to elude what Vitruvius but now taught us, would make us believe, that the Capitals
of the Acanthus were rarely ufedby the Antients, who were wont ordinarily to carve
them with Olive-leaves ; and proves in that which follows by Text out of the Bible,
and fome other Hifiorians who have given us the defcription of this divine Archu
tefture, that the true Originals of the Temple were of Balm- branches bearing Fruit, to
which the leaves of the Olive have a nearer Correfpondence. The Defign which we
{hall hereafter defcribe with the whole Entablature of the Order, drawn precifely ac¬
cording to che meafures which Villalpandus has collected, and which I have exprefly
followed, without regarding the Profile which he has caufed to be engraven, will bet¬
ter difcover that I know not how to decry the beauty of this compofition : In the
mean time, to be constant and preferve my felf within the terms of the Corinthian Ar -
chiteSiure which has been praffifed by thofe great Mafters of Antiquity as well Greeks
as Romans, and of whom there yet remain fuch wonderful foot-fteps and even entire
Temples which may ferve as fo many exp refs and demonftrable Lectures of the Pro¬
portions of this Order ; I have made choice of one of the mod famous amongft them,
to which I totally conform my felf without any refpeft to the opinion of the modern
Authors ; feeing they ought to have purfu d the fame Paths, and regulated themfelves
with me upon thefe Original Examples.

The Rotunda (heretofore called the Pantheon ) having ever obtained the univerfal
approbation of knowing perfons, as being the mofl regular Corinthian Work, and in-*
deed the moft famous among all the remainders of Antient Rome, appears to me to
be the very beft Model which I could pofhbly make choice of, though there are in¬
deed others to be found which are much richer in ornaments, and of a beauty more
elegant : But as our Gufts do generally differ, I have preferred mine own, which ra¬
ther affe&s things [olid and alittl e plain, for that indeed to me they appear fulleff of
Majefty. Neverthelefs, for as much as tis fometimes neceffary that an Architect ac-
commode himfelf to the Perfons humor which employs him ; and for that one meets
with occafions where magnificence is proper, as in Triumphal Arches, Kings Palaces i
Temples, and publique BAs which were much in ufe among th t Antients, and in di¬
vers the like ample Scruff ures, where fplendourand profufion are chiefly confider d,
I will produce fome examples of the moll renown d of' Antiquity, the firft whereof
fhall be that great Relique of the Frmtifiiece of the Torre di Nerone fo call d, which has

been

64 A Parallel of the antient Architecture

been demolifhed within thefe late thirty years, to the great reproach of this Age, by
the avarice ol fome particular Perfons.

This was one of the rareft pieces of Antiquity , as well for the beauty and richnefs of
its ornaments, as for the compofures of the members of the Order, which even in Pa¬
per it felf appears bold and terrible ; the judicious Architect of this work very well
underftanding how to introduce a Grandure of manner into his defign, which fhould
equal that mafs of ftones he heap'd up and contriv’d into the ftru&ure of this Gigan -
iique Edifice, whereof the Columns contained fix foot diameter.

It is not precifely known who it was that caufed it to be built , nor yet to what
purpofe it ferved : Some imagine it was a Temple erefted by the Emperor Aureliam s
and dedicated to the Sun \ Others chat ’twas oneiy a particular Palace, The vulgar
have a Tradition that Nero rais’d it of that height to behold the Conflagration of Romey
which is very improbable, as being too great a work to have been accompliihed in
fo fhort a time : But whatever it were, certain it is, that it has been the moft magni¬
ficent and goodlieft Order of Corinthian^ ork which all Pome could boaft of, as one
may well perceive by the defign which I fhall preient you of' it after that of the Pro¬
file of the Portico belonging to the Rotunda , being the Model on which I regulate the
, Proportions of the Corinthian .

The enfuing Defign is a fimple reprefentation of the Hifiory of Callimachus which I
but now reported, and is placed here oneiy for Ornament-fake.

a

A Parallel of the antipit Architecture

CHAP. XXVII.

A Corinthian Profile taken from the Portico of the Ro¬
tunda at Rome.

TH E whole height of the Order from the Bafe to the Cornice amounts to three
and twenty Models and two thirds, whereof the Column with its Bafe and Chap¬
ter contains nineteen, and the Entablature four and two thirds ; fo as the whole En¬
tablature ( which is the Architrave , Freeze, and Cornice ) makes a quarter of the Co¬
lumn : And albeit it may leem reafonable to follow the opinion of fome Author s7
who allow him but a fifth ; yet we find, that the moft famous of the Antique , for
example, this frontifpiece of Nero, and the three Pillars of Campo Vaccino at Rome,
which in the judgment of Architects pafs for the nobleft reliques of Antiquity , chal¬
lenge an entire fourth part for their Entablature : Upon this account, I conceive it
fafeft to preferve our felves within the limits of our Example from the Rotunda , left
endeavouring to render this Order more fpruce and finical, it become in fine but the
more contemptible.

Behold here its compofition in general, and the proportions of the principal
Members, of which the Model is ever the Sernidiarncter of the Column , divided into
thirty Minutes .

The entire height of the Order contains twenty three Models and two thirds, which

amount in Minutes to - - - — - - 710

The Bafe has one Module precifely - - - - - — — — *-—^30

The Shaft of the Column fifteen Modules and two thirds,wanting two Minutes— 468

The Chapter contains two Modules and a third onely - - - - — 70

The Entablature , viz. Architrave , Freeze , and Cornice four Modules, and two thirds,

two Minutes over ; - - - - - - - — - - 14 z

Concerning the fmall divifions of each part, it would be too tedious and indeed
fuperfluous to fpecify them here, fince the Defign demonftrates them more intelligibly.

I have towards the end of the fecond Chapter of this Book, taught how one fhould
make the Calculation of an Order for the examining the Proportion which the Entabla¬
ture bears with its Column , and thereby to fee if it hold regular : It would be no lofs
of time to the Reader did he make proof of his fkill upon every Profile: But*Tack-
vife him before hand that there are three different Proportions all of them beautiful, and
which may very well agree with this Corinthian Order : That is to fay the Fourth, us in
this and the following Profile ; The two Ninths, which arc the mean Proportions of
the fourth to the fifth, as in the third Profile taken from the Baths of Dioclefian : and
laftly the fifth, as in the Profiles of Palladio and Scamozgi not fo frequently encoun¬
ter'd amongft the Antients. ■ ; 'v • f" v-

with the Modern *

Cf»M

3CT:

533

4 ?

A Parallel of the antient Architecture

CHAP. XXVIII.

The Elevation in Perfpe&ive of an excellent Corinthian
Profile, which was in the Frontifpiece of the T orre di
Nerone at Rome.

ALthough this piece of Architecture were one of themoft magnificent of all Anti¬
quity, as well for the excellency and the richnefs of its Ornaments, as for the ftu-
pendioufnefs of the Work ; yet could I never certainly learn what kind of Strudure
this fihould have been, nor indeed under whofe Reign it was built ; Some reporting it
to have been a Temple dedicated to the Sun by the Emperor Aurelian ; Others,that it was
onely a private P allace built by Nero, in which he plac’d that extravagant Colofi of
Brafl which fixt a non ultra to the folly of the Sculptors of that Age, who out of a fa-
crilegious profanation of their Art would deifie the Emperors, by ereding Statues to them
of a prodigious grandure, as they did heretofore to the Gods to whom this honour was
of righttobereferv’d. Andrea Palladio conceiv’d it to have been a Temple of Jupiter ;
fome others conjedur’d that it might be a Palace of the Cornelia's, thus every one had
his particular conceit : But fince the truth of this queftion is very indifferent to our
SubjeCi in hand which confiders onely what relates to Architecture, I fhall refign the
debate thereof to our Antiquaries .

The Columns were ten diameters in height, every diameter of fix foot, which being of
fo exceflive a bignefs as tranfcended whatfoever had been built at Rome either before or
fince it, inclines me to believe it might indeed be fome work of Afro’s. The Compofition
of the Profile in general is of an excellent Idea, and each member fufficiently regular;For
the reft, I thought fit to prefent it in Perfftefiive, to fhew the ftupendious effeft of this
manner of defign, which even upon paper it felf, and without at all exceeding the limits
and proportions which the Art has prefcrib’d, prefents to the Eye a kind of aftonifh^
ing grandure, proceeding partly from the extraordinary procedure of the Entablature ,
whofe Corona carries its jette a great way beyond the Modilions, and which indeed makes
the Columns to appear a little weak and furcharg’d : But the Architects had provided
judicioufly for it, by making ufe of that manner of Columniation which the Greeks have
termed Pycnofiylos, where the Pillars are fet very near to one another.

Now for that thofe who have only made their ftudies o f Architecture but from'fimple
Profiles, may wonder to fee here fome of the Members extraordinarily diftant from their
accuftom’d proportion ; 1 advertifethem that it proceeds from an effed of the Optiques ,
which never prefents things precifely to the Eye, but diverfifies them according to
the various afpeds and diftances from whence they are beheld ; and the parts which
thence receive a more fenfible alteration, are fuch of them whofe [uperficies is moftfle-
%uom and circulary, as the Gula or Ogee which compofes the Crown of the Cornice, which
being feen from beneath, and more advanc’d upon the Plan, receives a confiderable
accefs of height ; The fame reafon alfo makes the Column to diminish, as being fet
f urther within the Plan then any of the reft of the Members.

with the Modern. ^

?o

A Parallel of the antient Architecture

CHAP. XXIX.

Another Corinthian Profile exceedingly enrich'd and full
of Ornament , taken from Dioclefian’s Baths at Rome.

AFTER this Corinthian Example we are no more to expeft any thing rich in
Architecture, but it belongs to the judicious onely to put it in pra&ile, for the
abundance of Ornaments is not always to be efteemed, nor of advantage to a build¬
ing ; On the contrary unlefs the Subjed oblige one to it by confiderations very pow¬
erful, one fhould never be too profufe, fince they but difturb the proportions and
produce a confufion among the Parts which offends the eye of thofe who are truly
knowing, and carries a certain antipathy to the very name of the Order.

It is not therefore to be employed but in great and publick Works, Houles of
Princes , and fuch Palaces as are built for magnificence onely ; as were heretofore ac
Pome the Bathes of Dioclefian, of Antoninus, and Trajan whereof there are yet to be feen
fuch goodly remainders, and from whence this Profile had been taken notice of and
delign’d by that famous Architect Pjirro Ligorio in the year *574; fince which time
thefe great Theaters of Architecture have been difmantled of fundry of their Columns
with their ornaments, and of a number of other incomparable pieces, whole Defigns
I have from the hand of feveral Mafiers who had there made very curious and pro¬
fitable oblervations from many noble things which are now no more to be found.

The Diameter of the Columns of this Profile amounted to four Palmes ; The Chapter
had this in parti cular, that its fialks and flexures of the leaves were made in the form
of Ramms horns , but the reft after the ordinary proportions and foliage . In fumm, the
whole Ornament in general was fo artificially elaborated, and finifh’d with that affe¬
ction and politenefs, that Pyrro Ligorio having accomplifh’d the defign, writ this un¬
derneath it. That by the delicatenefs of the work, one would believe, the Sculptors
had wrought with their Tools perfurn d.

The Proportions of the Order ,

The Column together with its Bafe and Chapter has twenty Models , which reduc’d to

Minutes (thirty whereof make a Model ) amounts to — - - - — - * - 6 00

The Architrave hath a Model and one Third - - - - — - — - — 40

The Freeze in like manner one Model and a Third - - — — — - — — 4©

The Cornice two* Models within eight Minutes — — - — — — — — - - 52

The whole Entablature amounts to two ninths of the height of the Column, which
is a noble proportion, and fhews handfomely in work.

with the Modern*

_/- 7X

*<r

Of the bathes \ of QvoclgJxccrt

?2

A Parallel of the antient Architecture

CHAP. XXX.

A Corinthian Profile of the T emple of Solomon out

of Villalpandus.

BEhold here a kind of Particular Order, but of an excellent Compofition, which
though I dare not affirm to have been precifely the fame Profile with that of So¬
lomons Temple (the Model which I propofe to my fell ) yet as near as one can approach
to that divine Idea from its deception in the Bible and fome other famous Hiflories
mention’d in that great work of Villalpandus where all the ornaments and principal
proportions of each member are exaffly fpecified, I conceive it to be fufficiently con¬
formable. The compofition is perfe&ly Corinthian, though the foliage of the Capital
and its Cauliculi or branches are of Palmes, and the Freeze of the Entablature have bor¬
row’d the Dorique Ornament which are the Triglyphs whole folidity bears but little con¬
formity with the tendernefs of the Corinthian : But by what ever name you will call
this Order (notwithstanding that Jofephm affirms it to have been the Corinthian) certain
it is, there was never any more perfect .• and although the Corinthian be a very foft and
maidenly Order, which does not require the ftrength and virility of the Dorique, fymbo-
liz’d by the Triglyphs ; yet may one upon certain occafions introduce it with that ad-
drefs and reafon, as will not onely render it excufable, but very judicious : For in-
ftance, fuppofe one were to build Churches or Altars in memory of thofe generous
Virgins who from their tender age vanquish'd the cruelty of Tyrants for the defence
of Chrifiianity, furmounting all forts of Torments by their Conftancy, What could we
imagine more expreffive and futable to their Courage then this divine Order P It
may alfo be proper on fome profane occafions, as in Triumphal Arches and the like
Scruff ures. In a Word, finceit gave Ornament to that famous Temple of Jerufalem,
which never yet had equal, we may with reafon call it the flower of Architecture, and
the Order of Orders.

with the Modern.

*i t*ih

'o-H

Of the. Temple, of ff e-rtyaleere^

74

A Far add of the antient Architecture

CHAP. XXXI.

Palladio and Scamozzi upon the Corinthian Order.

OF all the Corinthian Examples which I have formerly produc’d for the Rule of
the Order exprefly chofen from the moft excellent pieces of Antiquity , there
is not one of them of the proportion which thefe two Mafiers here obferve, who make
their Entablature but of a fifth part of the Column : However when I conlider their great
reputation (particularly that of Palladio , whofe Works even emulate the beft of the
Antients') and the reafons which they alledge for difcharging the Columns proportio-
nably as they are weakned by the altitude and diminution of their Shaft, according to
the delicatenefs of the Orders , I can neither contradid their judgment, nor blame thofo
who would imitate them ; though my own Maxim be ever precifely to conform my
felf to the Gufio of the Antients , and to the Proportions which they have eftabliflfd.

Palladio makes his Column but of nine Diameters and an half, that is to lay, of nine-
teen Models ; fo as the difference of the height obferv’d betwixt his Entablature and
that of Scamo^' s proceeds from Scamozzi s Columns being of ten Diameters which
is likewife an excellent Proportion? and indeed more ufual then the other among the
Antients .

^ctUacLt

to .

33 2:

38

*

x.l

o

tA

4*2.

L

*Jc

/7^

- 8 t -

7 6 A Parallel of the antient AxchiteZlure

CHAP. XXXII.

Serlio, and Vignola upon /^Corinthian Order.

MEthinks I fee here a Giant next a Pigmy ^ fo monftrous is the difproportion
’twixt thefe two Mafiers ; and the reafon of this fo extraordinary inequality
proceeds from two Caufes ; Whereof the firft is, that Serlio allows to the Entablature of
Ills Profile but a fifth part of the Column , whereas Vignola makes his own of an entire
quarter, and exceeds even that by fome Minutes : The fecond is, That Serlio follow¬
ing Vitruvius , makes the altitude of his Column but of nine Diameters, and Vignola gives
his ten, the fame which I formerly obferv’d in the Ionique Order , where we met the
very fame inconvenience. But albeit the difference of thefe two Profiles be in gene¬
ral very confiderable ; yet coming to the particulars, what we find in their Capitals is
of greater confequence , fince we muft of neceflity condemn that of Vitruvius pre-
fcrib d in his fourth Book, towards the end of the firft Chapter ; there being no reafon
to preferr it alone to a number almoft innumerable of moft excellent Models which
remain of Antiquity , amongft which we meet with none in the fame terms to which he
has reduc’d the height of his own ; unlefs it be that out of refpeft to this grave Author ,
who Is indeed worthy the reverence of all thofe of the Prcfeffion , and to avoid the in¬
vidious name of Critique , we fihould choofe a gentler way, which is to elude the que¬
stion after their examples, who having already obferv’d the fame miftake before us
(either in effed or out of modefty) believ’d the Text to have been corrupted in this
place as well as in divers others where the alteration is manifeft ; fo as aflifting *the
fenfe a little one may fuppofe that Vitruvius deligning the height of the Corinthian
Chapter by the largenefs of the Diameter of its Column , he fhould not have compre¬
hended the Abacus , which is the foie ambiguity of this Paflage, and which indeed
deferves corred ion, or to be otherwife underftood then Serlio comprehends it.

OX

with the Mbdern, 77

A Parallel of the antient ArchiteBure

CHAP. XXXIII.

Daniel Barbaro, and P. Cataneo upon the
Corinchian Order.

OF all the four Orders of Architecture defcrib’d by Vitruvius ( for he fpeaks not a
Word of the Compofita which is the fifth ) This of the Corinthian appears to me
to be the moft (lightly handled, confidering the noblenefs and magnificence of its In-
ventors , who having fpard no coft to render it rich and excellent beyond all the reft,
were not likely to borrow any thing from thofe amongft whom they were ranked. I
conceive that Vitruvm s therefore at the beginning of his fourth Book had no reafon
to affirm, that they ufed to employ the Entablature and the Ionique , and fometimes
even the Dorique Column alfo, without any other addition lave the Capital of their own
invention ; fince by the antient Examples of this Order we find the contrary : But
the R. Daniel Barbarous Commentator whole defign is before us, is by no means to be
blamed for it, whofe province was onely to exprefs the meaning of the Mafier whom
he explained, and of which he has very worthily acquitted himfelf.

He has therefore fitted an Ionique Entablature to this Corinthian Profile, forming the
Capital of Acanthus-leaves conformable to the defcription and hiftory of its original
mention’d by Vitruvius. I would not for all this advife any Workman to make ufe of
this Compofition ; without fir ft confidering the relative proportion which the Entabla¬
ture ought to have with the whole of the Order , a thing that I find is here extremely
changed and a great deal lefs then it ihould be, by reafon of the confiderable height
which the Column has received by that of the Corinthian Chapter , which is two thirds
higher then the Ionique ; but this is remedied by enlarging the Freeze, and by adding
feme new Moulding to the Cornice ’twixt the Corona and the Dentelli , as a quarter of a
Circle or lb, to carve the Eggs and Ankers in.

The Defign of Cataneo has nothing in it remarkable, unlefs it be the extravagant
Frojeciure which he allows to the fillet of his Dentelli , as we alfo find it in the Defign of
D, Barbaro : They have both in this followed that Maxim which regulates the Pro-
jeorure of every member to its height, but this rule is not alwayes to be received.

What I have laid in the precedent Page touching the height of the Capital accor¬
ding to Vitruvius would here be fuperfluous to repeat : It may therefore ferve both
for this, and for all the reft that follow being of the fame Species.

with the Modern.

7 9

30 .

8o

A Parallel of the antiint Ar chile Bure

CHAP. XXXIV.

L. Baptifta Alberei, and Jofeph V iola upon the

Corinthian Order.

I Shall here need onely to examine the defign of Alberti , That of his Companion
Viola being but an imitation, or rather a perfect Copy after the Profile of Palladio,
which we have feen already, and to which 1 referr the Reader as to its Original. .

As touching that of L. B. Alberti , I find two remarkable particulars in his defign
which feem worthy of reprehenfion ; The firft is the low proportion of the Capital ,
which is onely pardonable in the followers of Vitruvius , for we find no Example of it
amongft the Antients fince even he himfelf imitates a Manner both greater and more
noble then the Vitruvian: The other obfervable is in his Cornice , to which he has
given no Corona though it be a member fo elfential and one of the principalin the
Entablature : But though this liberty be fomewhat bold, and perhaps blame-worthy ,
yet remains there one confiderable Example at Rome, in the Cornice of that famous
Temple of Peace built by the Emperour Veffafian , being one of the greateft and mod
fuperb Reliques of Antiquity .

The face likewife of the Modilions feems to me ofthelargeft, and befides that the
Foliage which domineers in the Freeze holds not fufficient conformity with the Cor-
nice , as too Ample and plain for fo rich an Ornament : But the remedy is at hand by
adding a few Leaves or other Carvings on the Cymatiums of the Cornice and Architrave ,
with Eggs upon the quarter round ; unlefs it be that you would rather fave that work
by abating fomewhat of the Ornament of the Freeze : There will yet remain this Ob-
|edion ftill in the defign ; That the Author refolving rather to fix upon the Capital of
Vitruvm then on thofe of the Antients, he ought not to have carv’d them with Olive-
leaves ; fince Vitruvm does exprefiy order them of the Acanthus*

or

with the Modem

Si

82

A Parallel of the antient ArchiteBurt

CHAP. XXXV.

Bullant, and DeLorme upon the Corinthian Order.

] Should do an injury to one of our prime French Architects JohnBullant by name,
if by the Examen of this Profile I fhouldrank him with thofe of the School of Vi¬
truvius , fmce he has after this given us others of a nobler form, which he has co¬
pied from the Antients ; but not finding him fo perfectly exaCt in the meafures which
he affigns them, I therefore omit 'em : He appears in this defign to have imitated
SerliOj and indeed the difference between them is very inconfiderable ; notwithftand-
ing I obferve fomething in this of more refin d, as the Projefiure of the Ventelli ( or
rather of the plain fillet on which they fhould have been cut) which is extremely re¬
gular, whereas Serlios is exceffive, befides the impertinent repetition of a fmall Ogee ,
which is thr ice within the fpaceof the Cornice onely, but which Jean Bullant has had
the difcretion to diverfifie : He alfo gives his Capital more grace, the leaves and

branches whereof are better fihaped. L_ . _ _

I could have wiftfd for conclufion of our Corinthian Order , that De Lome had left
us a more regular Defign , and of a better relifh .* But the good man, though very ftu-
dious, and a lover of the Antique Architecture , had yet a modern Genius., which made
him look upon thofe excellent things of Rome as it were with Gothique Eyes ; as ap¬
pears plainly in this Profile , which he pretends to be conformable to thofe of the Chap-
pels of the Rotunda . For the reft, his ftyle is fo exceedingly perplex’d, that it is often¬
times very difficult to comprehend his meaning : The Reader will fmile to fee how
he explains himfelf on the fubiect of this Cornice (fit is in the fourth Chapter of his ffxth
Book ) For having cited all the meafures of each part, piece by piece, he fayes, that
as to the height of the Architrave , he had divided it into three and forty parts and an
half, to give every thing its proportion, but that not falling out as it ought, he sre-
folv d to fpeak no more of it ; and thefe are his very termes : As to the Bafe of this
Profile , 1 have taken it from the end of the foeond Chapter of the fame Book .* And al¬
beit its proportion be very extraordinary, he affirms yet to have defign’d and mea-
fur d it from certain Veftigias very antique (thefe are again his own expreffions ; )
You may likewile take notice that the ftalks or Cauliculi under the rofes of the Abacus
rife too high in this Capital: In fumm, the Talent of this Architect, who has for all
this acquir’d a great deal of reputation, confifted chiefly in the contriving and fur-
veying of a Building ; And intruth his chief perfection lay more in the art of fqua-
ring ftones then in the Compofition of Orders; and of this he has indeed written with
moft advantage and at large : But fince him, and that very lately, the Sieur Defargues
of Lyons one of the moft exquifiteand fubtile Geometricians of this Age, whofe Genius
delights to render familiar and ufeful the moft excellent peculations of' that Science?
has exalted that Art to a much higher perfection. - — ^ -

with the Modern.

o 4

84 A Parallel of the antient Architecture

CHAP. XXXVI.

The Orthography of one of the Altars of the Rotunda.

NO T to leave the mind of our Reader altogether intangled amongft the Mo¬
dern^ and happLy alfo deviating from the right path of Architecture , Iampre-
fenting him with an Example from the goodlieft Temple of Antiquity , which is one of
the Tabernacles now {landing in the Rotunda ; that fo he may return and be again re¬
duc’d to this noble and perfect Idea of the Art which I have ftill been propofing to
him in my fix’d difeourfe before every Order by the like Examples ; upon which, as up¬
on the moft permanent and immovable foundations, he ought to fix and eftablifh his
Studies: For, compar’d to this, the writings ofth c Moderns are but loofe Earthy and ill-
bottom ’d, upon which one can ereft nothing that is fubftantial and folid: But having al¬
ready fufficiently treated of the Modenatures and Proportions of' the Corinthian Orders , and
that the Defign which I here propofe is too little for the precifely meafuring of each
member, I fhall only touch two or three particulars here which more import the gene¬
ral compofition of the Defign then the regularity of the Order ; The firft whereof is, That
its now become as it were the mode , I fhould fay rather an univerfal madnefi, to efteem
nothing fine, but what is fill'd and furcharged with all forts of Ornaments , without
choice, without diferetion or the leaf!: affinity either to the Work, or the SubjeC \ : fo as
the Compofition of this Altar would be efteem kl very mean in the opinion of our
fmall al a Mode Mafters, who to enrich it, would in lieu of the tingle Column which
at each fide fuftains the Frontifpiece , make a pile of four or fix and happly of more,
with two or three accumulations of Mouldings in the Cornice to break the Order and
exaft evennefs of the Members , whole regularity is anxious to them ; One Fronton
would be likewife too few for them, they add frequently two and fometimes three, and.
that one within the other ; nor do they think it fine unlefs it be broken, carv'd and frett
with fome Efcutcheon or Cartouch at leaft ; Nay even the Columns themfelves which
are the props and foundation of the Orders fcape them no more then the reft ; for
they not onely abufe and counterfeit them in their Capitals and Bafes, but in their very
Shafts alfo : Tis now efteemed a Mafier-ftroak to make them wreath'd and full of rings ,
or fome other capricious ligatures about them, which make them appear as if they had
been glew'd together and repair’d: In fine, one may truly fay, that poor Architecture is
very ill-treated amongft them : But it were not juft to impute this great reproach to
our French Work-men onely ; The Italians themfelves are now become more licentious ,
and fhew us plainly that Rome has at prefent as well her Moderns as her Antiques .

The End of the F 1 r s t Par t.

! . .pm

with the Modern. 85 '

P A R AA L* L E L

O F T H E

ANTIENT ARCHITECTVRE

WITH THE

MOD E R N.

CHAP. I.

Of the Tufcan Order.

T is an abufe fo vifible in the Architecture of the Moderns , their
confounding the GreekOrders amongft the Latine , that I am afto-
nifhed at the general inadvertency of fo many Authors , as treat¬
ing of their Symmetries^ and the Particularities of their Proportions ,
have fo difpos’d of them as plainly difcovers how ignorant they
were of their Proprieties and ffecifique differences, without
which it is fo very difficult to makeufe of them judicioufty.

I had already hinted lomething in the Preface of the Fir ft Part or this Treatife , to
prepare the Reader for the new Order which I am here obferving ; but which.being con¬
trary to the vulgar Opinion and current Pr alike will have much ado to eftablifh it
felf,and doubtlefs provoke many Adverfaries. But fince the foundations of this Art
are principally fixt upon fuch Examples of Antiquity as are yet remaining, I hope,
that in time my opinion may prevail, feeing I tread but upon their fbotfteps, and
rather demonftr ate the thing then difcourfe of it.

Hitherto

88 A Tar allel of the antient At chile dure

Hitherto all our Architects have generally held that the Tufcan Order was a kind
of Building which d iffer’d from the others but in the plainnefs of its Mouldings , and
folidity of its parts ; but in the reft, confifting of the fame Members , and of like
ufage : And truly I fhould be injurious to condemn it, fince Vitruvius has in his
fourth Book, made a particular Chapter of the manner how to build Temples after the
Tufcan Order . Notwithftanding, however one might interpret what he there fayes,
it will be found very difficult to invent an handfome Idea of Entablature fit to
place upon thole Columns : And therefore I conceive that the onely piece of this
Order which deferves to be put in work, and that can properly recommend it to
us, is the fimple Column it felf without any Architrave at all, as we find it employ’d by
the Antients : For whereas by the ordinary ufage of it, ’tis ever rang’d in the laft place,
Theft great Mafters have aflign'd it one wholly independent from the others, and
treated it fo advantageoufly, that it may for its beauty and noblenefs ftand in com¬
petition with all the reft of the Orders : Nor will this I prefume be denyed, when
they fhall well have confidered that renowned Example which I am producing of the
Column of Trajan , one of the moft fuperb remainders of the Roman magnificence to
be now feen Handing, and which has more immortaliz’d the Emperour Trajan then
all the Penns of Hijiorians. This Maufoleum , if fo we may call it, was ere&ed to him
by the Senate and People of Rome in recognition of thole great Services he had rendred
the Countrey ; and to the end the memory of it might remain to all fucceeding Ages,
and continue as long as the very Empire it felf, they order’d them to be engraven on
Marble , and that by the richeft touch that was ever yet employ’d. It was Archite¬
cture her felf which was here the Hiftoriograph of this new kind of Hifory, and who fince
it was to celebrate a Roman , chofe none of the GreeKOrders , ( though they were in¬
comparably the more perfect and in ufe even in Italy it felf then the two other Origi¬
nals of the Country ) left the glory of this renown d Monument fhould feem to be divi¬
ded ; and to inftruft us alfo, that there is nothing fo plain and fimple but what Art
knows how to bring to perfection: She chofe therefore a Column of the Tufcan Order
which till that time was never admitted but in grofs and Ruftiq ; works; and of this rude
and inform mafi made to emerge the richeft and moft noble Mafer -piece of the Worlds
which Time , that devours all things, has prelerv’d and kept entire to this very Day
in the midft of an infinity of Ruines which even fill the City of Rome . And ’tis in¬
deed a kind of miracle to fee that the Coloffeum , the Theater of Marcellus , thofe great Cir¬
cus 5, the Baths of Dioclefian, of Car acalla, and of Antoninus , that proud Moles of Adri¬
ans Sepulture , the Septizpnium of Severus , the Amphitheater of Auguftus , and innu¬
merable other Structures which feemed to have been built for Eternity , fhould be at
prefent fo ruinous and dilapidated, \ that its hard even to divine what their original
forms were ; whiles yet this Column of Trajan ( whole Structure feemed much lefs
durable)remains extant and entirely a fecret of Providence which has deftin’d this ftu-
pendious Obelishso the greateft Monarch that ever Rome enjoy’d, the Chief of the Church
St . Peter, who poffeffes now the Seat of that Emperour to whom it had been ere&ed.
But to preferve my felf within the limits of my fubjeff, which is onely to give you

its

with the Modern. 29

its defcription according to the defign of the Architect who was the Author of it, I (hall
leave to luch as are contemplative the moralizing on this fo wonderful Viciffitude ; fmce
it would be here from our purpofe, and very impertinent to the Art we are illuftrating.

Let us then again return to our Column , and its fingular ufe among all the Orders of
Arcbitefture , where the reft of the Pillars do in comparifon to this appear but as fo
many Servants and Slaves of the Edifices which they fupport, whiles ours is a Queen of
that Majeftj , that reigning as it were alone fhe is exalted on the Throne of her Piedejlal
deck’d with all the treafures of glory, and from whence fhe as freely imparts her mag¬
nificence to all rhofe whom fhe vouchfafes to look upon : The firft and moft illuftrious
of her Favourites was Trajan , upon whofe Monument I am now forming an Idea of the
Order which I would call Tufcan, without troubling my felf with what all the Mo¬
derns have written of it, who making no difference ’twixt it and the Rufiique do no great
honour to the Tufcan while they gratifie him with fo poor an Invention : But left our
Criticks take it ill we fhould name that a 7 ufcan Order which had its firft Original in
Rome , let them if they pleafe call it the Roman Order ; fince drey may with much
more reafon do it then thofe who fo name the Compofita of which we {hall {peak
hereafter. For my part I regulate my left upon the Profiles of the Capital and Bafe,
which I here find to be the fame Vitruvius attributes to the Tufcan Column : The moft
important difficulty in my opinion would be how our Column having no Entablature ,
could be properly reckon’d in the Catalogue of Orders , that being fo principal a Mem¬
ber, and in fome degree the very Head of the Order. But the Arc hi ted of this our
Model well fbrefaw that fomething was to be fubftitured in its place, and fo contriv’d
it after a moft excellent manner* He propos’d doubdefs to himfelftlie imitation of
thofe miraculous Memphitic Pyramids which the Egyptians ( thofe divine Wits to whom
we are fo much oblig’d for many excellent Arts ) had formerly erefted to the me¬
mory and Afhes of their Kings , who from the immenfe and prodigious greitnefs
of their Tombs one would believe had been Giants , and as it were Gods among ft Men:
Their Urns and Statues crowned the fummities of thefe artificial Mountains, from
whence, as from fome auguft and terrible Throne , they fee med to the people reign¬
ing after their death, and that with more Majefty then when they liv’d : Our pru¬
dent Architect being to render the fame honour to Trajan , the worthieft Prince that
till then had born the Title of Emperour , and whom the City of Rome did ftrive to im¬
mortalize, reflefted ferioufly upon thefe ftupendious Works, whence he drew, this
high and fublime imitation which we fo admire, and which has fmce become a Rule,
and been follow'd on fundry other occafions : Two moft renowned Examples of this
are yet remaining ; The Column of Antoninas at Rome alfo, and that of Conftantinopte
erefted to the Emperor TheodofiusMlcc his Victory againft the Scythians ; which fuffici-
ently teftifie by their refemblance to that of our Trajan , that this kind of Architellure
pafs’d currently for an Order amongft the M afters of the Art , feeing they always em-
ploy’d it ever fince Upon the fame occafions, together with Tufcan Profilures both at
the Safe and Capital : This eftablifhed, the reft will eafily follow, foas not to fubjeft
it henceforward to the opinion and diverfity of the Guffs of rhofe of the Profefon ;

<?o A Tarallel of the antient Architecture

fince we have the Original for our Model to which we ought of necefiity conform
left we tranfgrefs the terms and regularity of the Order: Now fuppofe an Architect
be on fonie occafion obliged to introduce, or change any thing in it, as the time and
the quality of his defign may require ; he is yet to proceed with extraordinary cir-
cumfpedion, and without in the leaft altering the form of the principal Members ; in
which one fhall perceive the addrefs of his fpirit, and the gallantry of his invention:
This is a Maxim fo univerfal through all the Orders , that without it onefhould never
pretend to give Rules, nor propofe indeed any Example for imitation ; fo naturally
obnoxious are our inclinations to novelty, and fo blind in our own Produdions : See
then from what fourfe the confufion of that Order fprung which they name the Com-
pofita , and which the prefumption and ignorance of Workmen has begotten like an ex¬
travagant Monjler blended with fo many natures, and forced mes fo averfe and con¬
trary that ’tis impoffibletodiftinguifh their Species: I have relerved their full Exa -
men for the conclufion of this Treatife , where I fhall make choice of what I meet with
of moft conformity to the rules of Art and of good Architecture , and where I (hall
produce fome of the moft famous Examples of Antiquity , that at leaft men may have
faithful Guides through this Labyrinth of Confufion.

Our Troyan Column which we here fubftitute in ftead of the Tufcan Order , by the
Prerogative of its excellent compofition has this advantage above the other Orders ,
that there feldom happning occafions worthy of it ; that is to fay, fuch as are parti¬
cular and noble enough to merit the putting it in pradice ; Our fmallMafiers inca¬
pable of fo high an imployment, have fpoken nothing of it, and by this means fibe has
remained in her original purity : But the firft which was ever made in imitation of it,
and that has exceedingly confirm'd the eftablifhment of this new Order , was the Co¬
lumn of Antomnm which is yet very entire, and theonely Paragon to ours, though it
concede fomewhat to it in the execution and magifterial handling ; but in recom-
penceof this it furpafles it in the greatnefs of its Mafl , a thing very confiderable in
t\i\§ Order, whofe ffecifique beauty confifts in being vaft, and of a manner Colojfale:
for the reft, the Compofition and Ordinance of the whole defign are very alike.

I will now (hew in general the efted and form ot the principal members, and of
what one ought to be careful in the application of Ornaments , which are to be difpo-
fed with great difcretion, as being of the very Effence and body of the Order : The firft,
and as it were the foundation of the whole Strudure is the Pkdejlaf which is here no
lefs neceffary then is the Cornice to the Columns ot the other Orders ; and its proportion
though fquareand folid requires an enrichment of handfome Modenatures , and of all
other forts of ornaments at the Plinth and Cymatium , but above all in its four faces ,
which are as it were the Tables of Renown where fhe paints the Victories of thofe Heroes to
whom foe ereds fuch glorious Trophies : It is there that we behold all the Military
Spoils ot the vanquifh’d, their Arms , the Machins they made ufe of in fight, their En-
figns , Skidds, Cy meter rs, the harnefl of their Horfes and of their Chariots , ; their Habili¬
ments of Warr, the marks of their Religion , and in a word what ever could contribute
to the pomp and magnificence of a Triumph : Upon this glorious Booty our Column

as

with the Modern. 91

as on a Throne is ereded and revefted with the moft rich and fplendid Apparel which
Art can invent; and indeed provided the Archited be a judicious perfon it cannot be
• too glorious.* I repeat it again that this ought in no fort to alter or in the leaft confound
the Proportions and Tufcan Profiles of the Bafe and Capital , as being the -very keys of
the Confort and harmony of the whole Order . The laft but principal thing, becaufe
it fetsthe Crown upon the whole Work, is the Statue of the Perfon to whom weered
this fuperband magnificent Strudure ; This hath an Vrn under his feet, as intimating
a renafcency from his own Afljes like the Phoenix , and that the Vertue of great men tri¬
umphs over Veftiny which has power onely over the vulgar.

As to what concerns the regular Proportion of this Figure and Urn with the alti¬
tude of the Column , I can here conclude nothing precifely, this part being repair’d in
the Original, and that in a manner too modern and wide of thefirft intention of the
'Architect to derive any advantage thence for our fubjed. It may yet be faid with
likelihood enough, that fince ’tis as ’twere the Entablature of the Order one- fhould
allow it a fourth part of the Column as to the Trabeation of the Dorique Order to which
this bears a very great refemblance : I conceive alfo that the Figure ought fo to be pro¬
portioned by the rules of the Optiques, that it may appear of a fize forr)ewhat exceeding
rhe Natural, and of an elegant Symmetry, that fo it may be taken notice of above all the
reft ; but with this diferetion yet, that being of neceffity to ftand on its feet, it appear
of a firm pofition, and that the mafl of the Vrn which ferves it for Piedeftal have a
lblidnefs agreeable to this effed : For ’tis a thing greatly obliging in Architecture, to
make every thing not only [olid and durable, but that it likewife fo appear and thereby
avoid that Gotique indecorum which affeds it as a beauty, the making of their works
feem as ’twere hanging in the air and ready to fall upon ones head, which is an Ex¬
travagance too vifible for us to fpend any time in confuting.

By this time I think I have left nothing unfaid which concerns the general Com -
pofition of our Column As for the lefter retail of the Proportions and Profiles of each
Member, the Defign lliews them fo perfpicuoufly that ’twere but a childifh and imper¬
tinent labour to name them over by the piece, as thofe firft Inventors of Painting
did, who to fupply the weaknefs of the Art, not yet arriv’d to fo natural a repre-
fentationof the things they imitated, were forc’d to write under them, This is an
Ox, a Tree, a Horfe, and a Mountain: There wiil be no need of this here, the efFed
of the Defign having fo far exceeded the expreffion of all words, that it fihews us more
things in an inftant, and that with infinite more precilenefs, then could have been
deferibed by difeourfe in a very long time. I will therefore conclude by this rare kind
o C Language which has neither need o {'Ears nor of Tongue, and which is indeed the
moft divine Invention that was ever yet found out by man.

For the reft, you will in my Profile of the Trajan Column perceive with what
diligence and exaditude all thefe things conform to the Original, even to the
very leaft Ornaments, and thereby judge how exceedingly careful I have been in
other things of greater confequence. If the Reader be intelligent, and that he
have attentively view’d and with a Mafterly Eye this rich and incomparable Piece

O 2 - which

92 A Parallel of the ant lent Architecture

'which I defcribe , the fatisfadion he will derive from the accurate Cbfervations
I have made and here prefent him will be proportioned to his ability; For in thefe
particulars our eyes do fee no further then our underftanding purges them, nor do
their admirable beauties reveal themfelves at once, nor to all the World in general ;
They will be curioufly obferved and difcovered with Induftry ; There are likewife
feveral kinds which every one confiders according to the force of his Wit, and as they
conform to his Genius : Some there are who feek onely the grace and neatnels of 0r<-
naments ; Others confider the noblenefs of the Work and novelty of the Invention ; The
moft knowing having regard to the Proportions chiefly, and the regularity of the Whole
with its Parts, to the judicious Compofition, the greatneft and fclidity of the Defign,
and fuch effential beauties as are onely vifible to the eyes of the moft intelligent Archie
tells ; from whence it often falls out, that the lame Work in which all thefe parts are
not equally per fed, is very varioufly efteemed by thofeof the Prof off ion (for there are
but few like this of ours fo qualified as to merit an univerfal approbation, ) and the
mifery of it is, that the belt things have for the moft part many fewer Admirers then
the indifferent , becaufe there are more Dunces then able Men .

The Mod ul of the following Defign, and the Method of deciphering it is the fame
with what went before ; viz^ That palling a Perpendicular through the Center of die Co¬
lumn the whole height of the Order, l divide the Semidiameter of the Pillar at the
foot in thirty Minutes which compofe the Modul upon which afterward I regulate all
the Members as well for their height as failings over and projefiures of their Profiles , ftill
beginning by this Central line of the Column , that fo the pofition of each individual
part be exadly adjufted and precifely in its place. This is fo perfpicuous, and has
been fo oft repeated, that there can remain no poflible difficulty.

As to what now concerns the whole Mafi , the Column contains feventcen Moduls,
comprehending the Bafe and Capital . The Piedefial with its entire Baff ament, Cymatium ,
and that Zocolo or Plinth above wrought with a feftoon (which in my judgment makes
a part of it, asrendring it a perfed Cube, of all Geometrical proportions the moft
regular and folid and confequently moft agreeable to this Strudure) has in height
three Moduls, a very little lefs : The Baft of the Column contains precifely one, and
the Capital two thirds of a Modul

with the Modern*

94

A Parallel of the antient Archtteftwre

CHAP. II.

Palladio, and Scamozzi upon the T ufcan Order.

I Aving declar'd my opinion touching the ufe and form of the Tufcan Order after
I the manner of the Antients ; I will now defcribe to you after what fafhion our
Modern Mafiers have handled it, and in what reputation it is at prefent amongft all
our Workmen, who in regard of the meannefs of fo poor a Compofition furname it the
Rufiique Order , and that with reafon, there being fo little probability that the Tufcarn
would ever own or acknowledge it in fo wretched a condition.

Andrew Palladio , of all the Moderns the moft judicious, and to whom in this Collection
we have aflign’d the moft eminent place, prelents us with two Profiles ; One whereof
is fo plain, that it has onely a Summer of Timber covered with another piece in head of
a Coping and Corona for the Entablature of the Column ; and I conceive he imagined
it fhould have no other from what Vitruvius has written of it. But finding this Com-
pofition too meanly handled to merit the honour of an Order, this induftrious Architect
went and fearch’d amongft the old reliques of Amphitheaters , which are thofe enor¬
mous mafles of Architecture where the fblidity of the building was more requifite then
the fprucenefs and curiofity of the Orders ; till in fine he difcover’d in the Arena's
of Verona, that of Polo, and other places, a certain Order which he conceived one
might call the Tufcan, in imitation whereof he compofed this: For he did ftot tye
himfelf precifely to follow one rather then another ; but from many he form’d and
ordain’d this, which I have rather chofen then any of the other Mafiers . That of his
Companion Scamozgi might pafs tolerably well had he not aflign’d him a too great
conformity with the Borique, and fo much as once mention'd where he had feen any
like it ; fo as being altogether Modern, and neer as rich in Mouldings as the Borique it
felf, it were much better to make ufe of the Antique ; this being in nothing conflde-
rable for a building but for its cheapnefs and the faving of time.

The height of the Column with its Bafe and Capital is of feven Diameters only accor¬
ding to Palladio : ScamoTgf allows to his feven and an half.

The Entablature contains alwayes a fourth part of the Column :

with the Modern, %

% A Parallel of the antlent ArchiteBure

CHAP. III.

Serlio, and Vignola upon the T ufcan Order.

WE have feen in the precedent Chapter the Tufcan Order of our Modern Archi¬
tects in its moft advantageous luftre ; but methinks it is extremely decay’d
here, efpecially in the Profile of Serlio, where the whole is indeed too plain and parti¬
cular, being the only Perfon who has allow’d to every member of the Order in general,
Bafe, Capital , Architrave , Breeze and Cornice a like altitude ; this equality being here
but a falfe kind of Proportion , and wholly repugnant to what Architecture has borrow¬
ed from the Optiques .

Vignola has in this refped proceeded more rationally, adding to each Member
what it might dimini fh of its magnitude by the diftance from the Eye ; and therefore
he has made the Cornice fomewhat higher then the Freeze or Architrave .

Serlio allows his Column but fix Diameters ; though Vitruvius ( whom he alwayes
drives to follow) gives it feven in his Chapter where he treats of building Temples after
die Tufcan manner, which is the feventhof his fourth Book .

Vignola , as to what imports the Column , conforms himfelf to Vitruvius ; but for the
mouldings of the Capital and Cornice is governed wholly by his particular fancy.

The Entablature both in the one, and the other of thefe two Profiles confifts of a
quarter of the Column .

<j% A T mallei of the anient ArchiteSm

B/feREADER.

? / | i WERE altogether a fruitlefs fiudy^ and but labour loft to continue any longer
X in queft of this Order after other Architects befides thole four whole Vefigw I
have lately produc’d : I am therefore refolv’d to proceed no farther ; confidering
withall, that thofe who remain, are (for the moft part) of Vitruvius's School, from
whence it is exceedingly difficult to colled any thing more effential to the Tufcan Or ~
der then the meer fimple form of the Bafe and Capital which are already defcrib’d
in the Profile of Serlio , whereof the repetition would be but fuperfluous. As to
what concerns the Entablature , fince there remains extant no antient, well-con-
firm’d, and pofitive Example , nor indeed fo much as any intelligible defcription of
it in the writings of Vitruvius^ I fhall make no great reckoning of their Inventions.
1 have likewife obferv’d, that Leon Baptifia Alberti ( the very beft of thole which
remain after Daniel Barbaro') has fpoken of it but curforily onely,as in truth making
no account of it, and without giving us fo much as a Profile . As little does he

efteem of the Compofita , of which Vitruvius too has been altogether filcnt*

with the Modern.

. '

CHAP. IV.

Of the Compounded Order.

TH E Compounded Order which has hitherto obtain’d the firft rank amongft the
Moderns, will find it felf extremely debas’d in this fevere and exaft review which
I have made upon the five Orders ; and where (without at all regarding the opinion
of the Vulgar , and the judgment of others that have written before me) I value no¬
thing unlefs it be conformable to fomc famous and antient Example , or to the Pre¬
cepts of Vitruvius that Father of Architects ; that fo ( if poflible ) I may at laft re-
eftablith the Art on its genuine Principles , and original purity from whence thofe li¬
centious Compofitions of our late Workmen have fo exceedingly perverted it ( under the
pretext, forfooth, of this fain d Name of the Compounded Order ) that there hardly re¬
mains fo much as the lead Idea of regular Architecture, in it , fo ftrangely have thofe
Orders which contributed to it degenerated intoconfufion, becoming even barbarous
themfelves by this their extravagant mixture. But as ’tis a thing very difficult to fub-
due and reduce fome fpirits to their devoire when once they have taken a bent and
are abandon’d to libertinifm ; fo nor do I pretend to gain any Difciples , or be fo much
as heard by thofe who have thus prefumptuoufly taken upon them to be Mafters. , be-
caufe they are either grown too old in their deprav’d gufio, or afhamed to acknow¬
ledge their miftake • refolving rather to perifh in their opinicn by obftinately defen¬
ding it,then be fo ingenuous as to reform it. I addrefs my difcourfe then to thofe Per-
fons oncly, who having not as yet their imaginations prepoffiefs’d preferve their judg¬
ment more entire, and are better difpos’d to difcern thofe charming beauties and
originals of the Antient Architecture, acknowledg’d for fo many Ages, confirm'd by
fuch a multitude of Examples and fo univerfally admired. Now for as much then
as it is a thing df main importance that we feafon our young fpirits with an early tin¬
cture, and begin betimes to fettle in them thefe Idea's , I do ever at firft propofe to
them the fame Models that have been left us by thofe great Genius's, as fo many Pilots and
Compares fteering the direft Courfe to the Art , and having them from that propenfion
which they naturally have to novelty , the very rock and precipice of the firft inclinati¬
ons of the French , which being once over-pafs’d, reafon does then begin to take the
helm j to conduct and let them fee Things fuch as they ought to be , that is to fay, in
their Principles, without which it will be altogether impoffible to acquire more then a
very ordinary and fuperficial comprehenfion of them ; and thofe who travel by any
other path grope like blind men in the dark., ^nd walk infecurely, without ever find¬
ing any real fatisfa&ion in their Work’ For the vain complacence of ignorant men,
be it that they take it from themfelves (as commonly they do) or that it be deriv’d
to them from fuch as are like them, ’tis fo empty and falfe a joy as it oftentimes turns

P 2 to’

loo A Parallel of the antient Architecture

to fhame and confufion ; whiles the true and folid praife which is attributed to the
merit of knowing Mafters , and the excellency of their Workmanjhip , is never obnoxi¬
ous to this felf-deception. Now how little foever it be a man polfefles of the Idea of
this high manner of the Antients and the greatnefs of their thoughts, hefhall foon per¬
ceive the meannefs and impertinency of our Modern Compofttions^hen in the midft of fo
many Examples of the incomparable and onely Architecture of the Greeks^ hich was the
ornament and fplendour of the Antient Rome (whofe very Ruines and Vefiigia's render
her yet augud above all the Cities of the World ) thefe wretched and trifling fpirits in¬
digent in the midft of fo great abundance, depart from the right way which thefe great
Mafters have opened to them, taking a devious path to purfue an abortive of Archi¬
tecture^ or the evil Genius of the Art rather, which has introduc’d itfelf amongft the
Orders under the Title of Compoftta, the favour of mens ignorance, and the indifereet
prefumption of I know not what pitiful new Architects , who have made it their Fools-
bauble , and clad it in fo many apijh and capricious modes, that ’tis now become a ri¬
diculous Chimera, and like a Proteus not to be fixt to any conlfant form ; fo as it
would be altogether labour in vain, an idle and foolifh enterprile for us tofearch
after it here through all its wild and unlimited extent , fince it has neither Rules nor
Meafures , Principles , Species , nor particular Propriety , and fo by conference not to be
comprehended under the name of an Order . It would in truth (in my opinion) be
neceflary for the good of the Art, and the reputation of Architecture , that this Mon-
fter were altogether Another ’d, and that fome more pertinent and jfecifique name were
given to thofe excellent Profiles which we encounter amongft fome Antiquities of the
grand Defign which (from I know not what Tradition) are called of the Compounded Or¬
der ; a Name altogether novel, not fo much as once mentioned by Vitruvius , and
which is in earned: too general and uncertain to fute with a regular Order : and that '
lince they referr the glory of its invention to the Romans , it were much more proper
to call it the Roman or Latine Order , as Scamozgi has judicioully enough done, and
moreover oblerv’d, that its Capital ( by which alone it differs from the Corinthian)
is of a more mafly andlefs elegant Compofition , whence he conceives this Order fhould
not be plac’d upon the Corinthian , left the weak be burthened with the ftronger : to
which he might alfo add, that they can never conlift well in the fame work together, as
I have elfewhere demonftrated,and this is fo perfpicuous that it admits of no poflible
extenuation : however thofe who would take advantage of this evil pra&ice and abufe
of the Moderns to do the contrary, might have a way toefcape by this Afmine-bridge :
For the importance is very inconliderable in comparifon to that unbridl’d licence
which now-a-days reigns amongft our Compofiters of the -Compoftta, who not onely
change the rank of the Orders , but reverfe and overturn even all their Principles , un¬
dermining the foundations of true Architecture to introduce a newr Tramontane more
barbarous and unlightly then even the Gothique it felf. But to all this let us reply
(in confufion of its Inventors) That an Architect fhould no more employ his induftry
and ftudy in finding out new Orders , to let a value upon his Works , and render him-
felf an able man ; then fhould an Orator, to acauire tno reputation of being' Eloquent ,

invent

with the Modern. ioi

invent and mint new Words that were never yet fpoken ; or a Poet compofe Verfe of
another cadence and meafure then what are prefcrib’d and are in ufe ; this affe&ation
being altogether puerile and impertinent : Or, admit one would upon iome occafion
take any fuch liberty, it ought to be with that difcretion,and fo to thepurpofe, that the
reafon thereof fhould to any one appear immediately : Thus it was the Antients made
ule of it i, but with fo great caution , as that they have confin’d their entire licence to the
foie form of the Capital. , of which they have dev i fed an hundred gentile CompofitionSyind
to fome fubje&s peculiar, where they fucceeded incomparably, and out of whofe limits
one cannot (withoutmanifeft impertinency) employ it in any work whatfoever. I
will therefore choofe two or three Examples among ft a good number of Defigns which
lye by me of that moft famous Pyrro Ligorio , found out and obferv’d by him in feve-
ral places of Italy with a diligence ineftimable. But let us firfb conclude our prime
Subjetty which is to form the Roman Compofita , and make of it here as regular and
precife an Order , as any of the former Four. I propofe (for this effeQ:) two antique
Profiles y both of them excellent in their kinds ; one very rich and full of ornament
taken from the Arch of Titus at Rome; and the other much plainer indeed, but great
and proud , being that of the Am de Leont at Verona^

If thefe two Inftances fuffice not our Reader , he may hiake his election of others
more to his liking, or fix upon any^of thofe who beft pleafes him of the Author' s fol¬
lowing, which I have therefore exprefly colle&ed together, and amongft which I ac-
knowledgemy particular efteem for Palladio.

102

A Parallel of the antient Architecture

“ ! ' ~’’”7 ‘ ’ " - r r~ ’ • . • < ' - ’ ■ *> .1 : i

CRAP. V. -.rr.-r'^v A

A Profile Compofita tafyn from the Arco de Leoni at Verona,

BEfore I propofe this Compofita for Model , I fhall firft endeavour to prevent
and elude certain Objeftions which our Critiques may polfibly raile, left they
impute it to my inadvertency fhould I pafs them by in filence. The firft is. That
the Cornice is deleft ive, want of the Corona: The other is the naked placing of
the Dentelli, without any feparation on the Freeze : Thirdly, the exceffive height
of the Freeze : And laftly, that the three Faces of the Architrave are all inverted
from the ordinary pofition r And finally, that the Plinth of the Bafe is a great
deal too high being compared with the reft. To all thefe Objections t might re¬
ply in a word, that in a bufinefs of Architecture the reafon is allowable fince I pro¬
duce an antique Example, univerfally approv’d and fuch as this is : Befides I add,
that the very name of Compounded feems to inferr a kind of Liberty, and that there¬
fore an ArchiteU might fometime juftly be permitted to take it, asoccafion may fug-
geft, either by introducing into the Order or retrenching from it what he thinks moft
conducible and proper to his Defegn ; provided it be difcreetly manag’d, as it has
been judicioufly oblerv’d in this Profile , where the Author being to make an extraor¬
dinary large Freeze for the more commodious placing of many Figures which con¬
cern’d his fubjeft, would fpare from the Cornice what he had ufurped of more then
the regular proportion of the Freeze did permit him. To this purpofe it was he cut
off and abated the Corona , though in truth a confiderable Member , but which is
yet (as far as 1 can colleft from other Inftances) not abfolutely neceflary ; fince in
the Temple of Peaces Rome ( one of the moft ftupendious works of Antiquity j the
Cornice though Corinthian has no Corona at all notwithstanding that the Architect had
the field fo open before him. And L. Baptifta Alberti (whole authority is greatly pre¬
valent among!! our modern Mafters) without other reafon for it then that of his own
gufto, has given none to his Corinthian Order. Now as concerning the Compartment
of the Swaths and Fa fix of the Architrave,\f\iofe pofition here feems fomewhat prepo-
fterous, tis ( to fpeak ferioufly) a little extraordinary, however I well remember to
have feen others which were like it , and Palladio produces us one Example of it
towards the end of his fourth Boot taken from a Temple of Polo in Dalmatia , of the
Corinthian Order , the Architecture whereof is exceedingly rare and antique ; and there
I alio find that the Bafe of the Column hath a Plinth likewifeofan exceffive thicknefs,
as indeed ours has, which fupplied the place of a Zocolo. Thus you have both reafon
and example fufficient for the anfwer of every objeftion. But from hence one may alio
judge, that this Profile fhould not be employ’d in work without extraordinary difere-
tion, and indeed fome kind of neceffity. That which I fhall produce in the follow¬
ing inftance is more regular to particulars, and by confequent more agreeable to all
forts of Works : But the general Proportion both of the one and other is fufficiently e-
qual. The Column it felf has ten Diameters , and the altitude of the Entablature amounts
to a fourth part of the Column.

■

104

A Parallel of the antient Architecture

) _ _ _ _ __ _ _ _ _ _

CHAP. VI.

A Profile of the Compofita takpn from the Archtf/Titus

at Rome.

TH E incomparable Idea of this Compofita , and the richnefs of its Ornaments makes
me conje&ure that the Inventor thereof might poffibly accompany Titus at the
expedition and fiege of Jerufalem ; and that it was there he had contemplated the divine
Architellure of the Temple of Solomon , in imitation of which (though in a very flender
Copy, compar’d to that miraculous Edifice , and efpecially in a different Order ) he
would fhew how dudioufly he had confider’d it. This conje&ure of mine has for
its foundation that the Triumphal Arch from whence I have drawn it is the very fame
which they ere&ed to the glory of that Emperour at his return from that famous en-
terprize ; And the Architect who happly contriv’d the Ordinance , and the whole Pre¬
paration of the Day of Triumph , judicioufly introduc’d into his work ( which was to
make the mod noble and lading part of it) the Figures of the principal Spoils of the
Temple , as that of the Golden Candleftkk. with its [even Branches which dood in the San-
Viuary , and the golden Table upon which was fet the bread of Fropofition together with
fome other Utenfils to this day extant in the Work.

Moreover the Arch has this conliderable amongd others yet remaining of the An-
tients* That ’twas the fird and very Original of” this kind of Structure ; and albeit there
have been fince made fome more fumptuousfor greatnefs of bulk and magnificence,
this is yet of a better hand, and more exquifite WorkjnanJhip then any of them.

I give you the Elevation in Perfpetiive as well to gratifie the curiofity of thofe who
adeft this Art , as that I may alfo contribute fomething to the beauty of the Defign ;
and befides that fuch as never faw the Original , may in fome fort judge of the Effeft
which it produces.

with the Modern

io6 A Parallel of the ant lent Architecture

\

CHAP. VI L

Palladio, and Scamozzi upon the Compofita.

ANdrea Palladio propofing this Profile of the Compofita , which he alfo names the
Lathe Order (to make it fpecifically differ from fome others which bear the fame
appellation) gives us a general Maxim for its proportion , which is to make itrefemble
the Corinthian , the form onely of the Capital excepted. And though he add that this

Order ought to be fomewhat more deck’d and gay then the Corinthian , ’tis to be un«
derftood in reference onely to thofe who allow the Corinthian Column but nine Diame -
iers (as himfelf does) whereas this fhould ever have ten.

Scamozzi s Profile has not fo good a grace as that of Palladio , nor is it indeed fo
exad in the regularity of its Entablature with the Column , where it wants but three mU
flutes upon the total to make it precifely a fifth ; for though this be a very fmall mat¬
ter , yet fince it had been better to have a little exceeded then come fhort (the Anti-
ents commonly allowing a whole fourth, or at leaft two ninths) the defeft is the more
ealily perceiv'd. But what is yet worfe, is, that in the competition of the Cornice he
has accumulated fo many fmali members one upon the other, as renders it trifling
and a little confufed.

;j

i»m

arm

I

II-

5

' 3

A Parallel of the antient Architecture

CHAP. VIII.

Serlio, and Vignola upon the Compofica.

I Am aftonifhed at this laft produ&ion of poor Serlio, who having till now reafon-
ably well conduced the firft Orders of Architecture under the dire&ion and govern¬
ment of Vitruvm fails miferably at the very Port juft as his P Hot has deferted him :
And what does moft of all furprize me, is, that the man’s Genm (which was to imi¬
tate a mean and trifling Manner ) fhould revolt in fuch an inftant and change into
fo Arrange an Excefs. I was at firft refolv’d to have fupprefs’d this Profile (for
the Credit of the perfon) had it not been to wrong his Competitor Vignola , and fo
fruftrate him of the great advantage which upon this occafion he has over him, fince
in the precedent Orders I have fometimes conceived him his inferiour. I fhall not
dwell long upon the particulars which in this Compofition to me feem defective ; be-
caufe I fhall fooner have finifh’d in faying once for ail, that there is nothing as it
fhould be, though the Cornice be taken from, and (as.the Author pretends) follow’d
ftroak for ftroak after that of the fourth Order of the Coloffeum , which is indeed one of
the moft renowned Veftigia's of' Antiquity and an admirable piece of Architecture. But
one had need of a very fteddy head to be able to climb fuch an height without fhaking
ones judgment. He fhould have confidered that this Colojfean Structure being a Mafi
of a prodigious altitude had need of fome Sophiftications from the Optiques to make it
appear regular to the eye ; and that therefore there would be an errour and miftake
in fumming up the dimenfions and Jtquipondium of its • members at a more moderate
diftance with the fame meafures and proportions. This inadvertency has made him
flip into another fault much more grofs and unpardonable ; for lie places upon a
fmall andpittiful Capital (after his own mode) the whole weight of the Coloffeum , that
is to fay, a Gigantine Entablature which compofes the Corona of this prodigious Edi¬
fice, This fo monftrous medley appears more here then in the Author ; becaufe he
has defign’d it very flightly, and in fo fmall a Volume (in his fourth Book, and ninth
Chapter where he explains this laft Orderf that one can hardly difcern the form of the
principal Members.

Vignola has proceeded with a great deal more exa&nefs and judgment in his De~
figns , which he has alfo Profil'd very neatly, and in a large Volume that renders it
commendable and of ufe to Workmen: He allows in this Compofition the fame meafures
and proportions that he does to the Corinthian .

with the Modern, 109

no

A Parallel of the antient Architecture

chap. ix.

Of a certain Ornament called the Fret.

ARcbitefture is in all this Treatife fo extremely jealous of' thofe Libertines that have
the rafhnefs of daring to corrupt the forms of her Profiles by their capricious
Inventions , that (he even refiifes entrance to all kind of Novelty whatfoever : This it
is which has put me in mind of the promife I made to prefent you here with fome
extraordinary Deftgns of Capitals drawn from the Antiques : But conlidering that they
can ferve for no ufe in any fort of Stru&ure at prefent, as being onely proper to the
Pagan Deities , and that we have now no more Jupiters , Neptunes , or other Gods of that
age, for whofe Temples thefe kind of Capitals were Angularly appropriated, by repre-
fentations ftecifical to every SubjeH ; I conceiv’d it better to remove thofe baits which
ferv’dlikewife but to awaken the ill Genius of our Workmen to imitate and copy after
them. To fupply then their places with fome other thing which fhould be profit¬
able and without reproach, I have made a very curious and rare Colledion of a cer¬
tain Ornament which they call the Fret, and of which the Antients made great ufe, ta¬
king infinite delight in compofing variety of forts, as this Defign will {hew you.
This Ornament confifts in a certain interlacing of two Lifts or fmail Fillets , which run
always in parallel diftances equal to their breadth, with this neceflary condition,
that at every return and inter fteVxion they do always fall into right angles ; this is fo in-
difpenfable that they have no grace without it, but become altogether Gotique. There
is one (amongft the ten I here prefent you) that confifts but of a fingle fillet , which ne-
verthelefs fills its (pace exceedingly well, and makes a very handfome (hew. The An-
tients did ordinarily apply them upon even and flat Members , as upon the face of the
Corona and Eves of a Cornice , under the Roof's^ Planceres and Cielings of Architraves ;
alfo about Doors, and on the Plinths of Bafes , when their Torus and Scotia's were carv’d ;
alfo they do rarely well about Platfonds and upon Ground-works .

The End of the Second Part.

F I Wi I $.

with the Modern .

iii

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‘•“v ■*; r-* *

A

. ■'

■ A - '

!

t

*

T

SL l ' I • -

,v •: •

; v.:'

X

The I n t e r preter to the Readers

H E Author of this Parallel had at the end of his Treatife begun
to explain a few of the hard Words , Technical tearms belonging
to this Art , the Etymologies whereof he thought necejfary to in¬
terpret : And as I fayd they are but a few indeed , compared to
thofe which remain , about a dozen at the moft ; nor was it necef-
fary he fhould exceed that number in a Countr y where Workmen are generally more
intelligent in the proper exprejftons of the tearms of the Arts unto which they addili
themfelves , than ours for the moft part are ; and therefore if waving the formahran-
Jlation of that Page ( for it exceeds very little more j I have in lieu thereof confi-
derably enlarg'd upon this Occafton by a more finifb'd and compleat enumeration of the
fever al parts and members of the Orders as they gradually fucceed one another in
Work, illuftrated with more full and exaft definitions , than by any hasyet been
attempted for the benefit of our Countrymen ; I hope fhy Adventure may find both
pardon and acceptance. Nor let any man imagine we do at all obfcure this defign by
adorning it with now and then a refin'd and Philological refearch ; fence whileft I
feekto gratifie the politer Students of this magnificent Art, lam not in the kafi dif-
dainful of the loweft condefcentions to the capacities of the moft vulgar under fiandings ;
as far at leaft as the defers and narrowneft of our Language will extend, \ which ra¬
ther grows and abounds in complemental and impertinent Phrafes , and fuch froth
( as Sir H. Wotton well obfervesfrom Gualterus Rivius *s incomparable Verfion of
Vitruvius in the Germane-tongue j than in the folid improvements of it , by either
preferring or introducing what weretruely needful: and really , that very final con¬
vention I have had in the Saxon Writers, flews me cleerly by what I find innovated
or now grown obfolete , that we have loft more than we have gain'd, and as to tearms of
ufeful Arts in particular , forgotten and loft a world of moft apt and proper exprefftons
which our Forefathers made ufecf without being oblig'd to other Nations : And what
care the French have taken upon this account onely, may in part be judged from that
pretty , though brief Effay des Merveilles de Nature, & des plus nobles Artifi¬
ces,^. wherein the proper tearms of the moft vulgar, as well as more polifh’d Arts
are moft induftrioufly delivered ; whileft ( to fyeak. ingenuoufly j I find very little
improvement in the moft pretending of our Lexicons and Ndmcnclitors yet extant,

R that

‘that of Bernardinus Baldus onely upon Vitruvius excepted? which yet is neither
after my Method, nor for our Workmens turn ? being a Book, of price, and writ¬
ten in the mofl learned tongue. It it a very great deficient indeed? and to be de¬
plor'd? that thofe indufiriom Compilers did make it no more their bufinefi to grati -
fit the World with the Interpretation of the Tearms of fo many ufeful Arts, I mean
the Mechanical : Adrianus Junius hasdeferved well on this Occafwn? to his great
commendation , and much it were to be wifhed that fome univerfal and practical
Genius would confummate what he has fo happily begun? and that not onely in the
Arts Illiberal, as they are diflinguifibed? and things artificial ; but furnifib us like-
wife with more exatt notices of the fever all and diftinU Species of Natural things ;
fuch as are the true Names of Birds, Fifties, Stones, Colours, isrc. fince it is then?
and not till then? our Lexicons will have arriv'd to their defined perfection ? and
that men will be taught to fpeak ( like Orators indeed ) properly on all fubjefts,
and obliged to celebrate their Labours .

J. Evelyn.

.

r.l

' ^

AN ACCOUNT OF

ARCHITECTS & ARCHITECTURE,

TOGETHER WITH

; V.

An Hiftorical , and Etymological Explanation of certain T E A R M S
particularly ajfetted by ARCHITECTS.

I E knowledg of this fumptuOus, magnificent, and ufeful Art
for having been firft deriv’d to us from the Greeks , we fhould
not without infinite ingratitude either Right,or innovate thofe
Teams which it has pleafed them to impofe upon the par¬
ticular Members and Ornaments belonging to the feveral Or ¬
ders ; and that as well for the veneration which is due to An¬
tiquity, as that by comprehending the fignification of them, we may with the
more facility and addrefs attain to the intelligence and genuine meaning of
what the Matters in this Profeffton have deliver’d to us in their feveral Writings
and Works ; not to infill upon (what is yet not to be defpis'd) the decorum
of fpeaking properly in an Art which the greateft Princes and Potentates of the
Earth have vouchfafed to honour by fo many lignal and illuftrious Monu¬
ments as do to this day confecrate their memories to pofterity;

Since the Agent does always precede the Attion , and the Perfon or Workman
is by natural Order before his Work, we are by an Architect to underfland a mu
perfon skilful in the Art of Building : The word is Wgyfixlcev, a Compound in
the original, and lignifies Fabrrn proefeflus, or if you will, Informator , which
the Prefident , Superintendent , or Surveyor of the Works does fully exprefs ; his
A^y being relative to the Fabri that are under him, as the Opera or Labourers
are fubfervient to them.

Bud&us calls Him, StruUiorum Princeps , and fuch a Perfon as is capable of
rendring a rational and fatisfa&ory accompt of what he takes in hand. Ratio-
cinatioautem eft , qua tes fdbricatas folertia acrationeprcporticnis demonttrare atque
explicare potett. Vitr . 1. 1 . c. i . So our Mattery and fuch a ofle it feems was that
Philo the Athenian Architect, of whom the Orator, Nequtenim fiPhilonem ilium
Architettum , qui Atheniehftbus Atmdmentarium fecit, contt at per diftrte popular atU
onemoperis fui reddidiffe exiftimanduni eft Architefti potius artificio difertum , juam
oratoris fuijfe , de Or at, 1, Seeing his knowledg and ability in' this faculty did

R 2 not

u6 Account of Architects

not at all eclipfe and diminifh his Eloquence and other excellent parts, but
rather added to them ; and this I urge to (hew that it was no mean thing for a
man to arrive to the talents of an accomplifh’d Architect, as he that fhall take
his Character out of Vitruvius will eafily conclude ; Itaque Architect (fays he)
qui fine liter'ts contenderunt , ut manibus e/fent exercitati , non potuerant ejficere ut bri¬
ber ent pro labor ibus Authoritatem , as if hands could do little in this Art for their
credit without letters : nay, fo univerfal will this great Dictator have him, that
in thofe duodecim neceffaria he fumsup nolefs then twelve rare qualities which
he would have him furnifh’d withall ; Itaque eurn tsr Ingeniofum , &c. I will
but only touch them, i . He muft be doc'll and ingenious. 2. He mud be literate .
3. Skilful in defegning and drawing . 4. In Geometry . 5 . Opticks. 6. Arithmetic k,
y. Hiffory. 8. Philofophy. 9. Mufick.- 10. Medicine. 1 1 . Nay, in Law\ and 1 2.
Aflrologie ; and really, when (as in the following Chapter) he there aflembles
his reafons for all this, you will be both fatisfied with them, and juftifie
his curiofity. Not that an Architebi is obliged to bean accurate Arifiarchm
in Grammar , or an Arifioxenus in Mufick an Apelles , or a Raphael for Defigning ;
in fum, an exaft Profeffor in all thefe Faculties, fed in his non imperitws : Suffi¬
cient it is he be not totally a ftranger to them ; fin ce without Letters he cannot
confult with Authors : Without Geometry and the Graphical Arts, lie will never
be able to meafure out, and call the Area;d raw the Plot and make the Scale: Be¬
ing ignorant of the Optick s he can never well underftand the due placing of his
Lights , diftance, magnitude and dimenfions of his Ornaments : By the affiftance
pf Arithmetick. he calculates the proportions of the feveral Orders , bums up his
Accompts and makes an eftimate of the Charge : being read in Hifiory he
comes to difeourfeofthe reafons, and original of many particular Members
and decorations, the height, improvement, and decay of his Art ; why the
Greeks inftituted the Order of the Caryatides , and the Perfian Entablatures were
fupported by Slaves ; how the Corinthian Capitels came to be adorn’d with
foliage , the lonique with a Matron-like Volutay &c. By the ftudy of Philofophy
he arrives to the knowledg of natural things, and is able to difeern the quality of
die Elements , and the materials which he makes ufe of ; From fome infight in
Medicine he can reafon of the temperature and falubrity of the Ayr, and fixa¬
tion : Mufick. will affift him in contriving how in Churches , Tribunals and pub-
lick Theatres men may with beft advantage hear the Preachers , Magifirates , and
Adors voices : Without fome Tin&ure in the Laws he cannot be fecure of his
Title ", and being wholly ignorant of Aflrologie , pofition and influences of the
Celeftial bodies , the Bays , Winds, Weather, Equinoxes and courfe of the Heavenly
Orbs (like Bruits) pafs over without obfervation, benefit, or prevention of their
effeds. To this purpofe (though much more at large) Vitruvius : But by this
you may fee how neceflary it is, that an accomplifh d Mafier-builder fhould
be furnifh’d beyond the Vulgar, and I have been the longer in the repetition,
not only that 1 may advance his reputation, and for encouragement ; but to

fliew

and Architedlure. nj

fhew that in the proper notion, and as the great Plato has fomewhere defin’d
him, Nullus Architeftus uiitur manuum opert?fed utentibus prxeft. No Architect is
to be prefum’d for the commonly illiterate Mechanick (which may bring it in¬
to contempt) but for the Perfon who Superintends and Prefides over him with fo
many advantages : Yet neither is this to the difbonour of the meaneft of thofe
excellent Workmen who make ufe of their hands and tooles in the grofler materia
als, fince God himfelf and Nature the univerfal Builders, are by tranflationt rue-
iyftyl’d Architects, both as to what they have excogitated fo wifely, and
wrought fo artificially * I n / j

Be this then fpoken of the Superintendent in particular, whom for diftinfti-
on fake and the Char after aflign’d him we may name Architebius Ingenio :

For fince to the perfeftion of an accompli fh’d Building there were three tran-»
fcendencies required : i . Strength , 2. Utility , and 3. Beauty , for the apt D iflru
button ? Decor 2nd fitnefs, Symmetric and Proportion, there was likewife necefla-
ry as many capacities, and that befides the judicious head there fhould be a
fkilful band, to which let us add Architebtu * Sumptuary? a full and overflow¬
ing Purfe : Since he who bears this may juftly be alfo ftyled a Builder ? and that
a rnafier one too, as being the Perfon at whole Charge, and for whofe benefit
the Fabrick is erefted, and it is indeed th tprimum mobile which both begins
and confummates all defigns of this nature; for if that ingredient come once to
fall fhort, Men build their Monuments? inftead of their lloufes , and leave marks s«
of difhonour, for Tables of renown, Homo ijle ceepit eedificare ? is nequivit perficere ?

This man began to build, and was not able to finifih, Yet thus have I known

fome excellent Perfons abus’d, who trufting to the Computation of either
difhoneft, or unfkilful Artifts ? have been forc'd to deli ft, fit down by the lofs,
and fubmit to the reproach : But fo it feemes would not the Greeks fufFer vht. «>
themfelvesto be over-reach’d, when thole great Builders the Ephefians (who 10.
knew fufficiently what a mifchiefit was to the Publick, as well as to private
men) ordain’d it for a Law , That if a Clerk undertook a Work.* and fpent
more then his Calculation amounted to, he fhould be obliged to make it good
out of his own Efiate, whileft they moft liberally and honourably rewarded
him if either he came within what was firft defign’d, or did not much exceed
it. And this was efteem’d fb reafonable (upon confideration how many no¬
ble Perfons had been undon, and magnificent Structures left imperfeft) that
Vitruvius writing to the great Auguftus concerning this fubjeft, wifhes the fame
Conftitution were in force at Rome alfo. But thus I have done with our
Architeftus Sumptuarius , I come to the

Manuarius the third and laft, but not the leaft of our Subfidiaries ? for in him
I comprehend the feveral Artisans and Workmen, as Mafons ? Stone-cutters, ,
Quarry-men? Sculptors? Plafterers? Painters? Carpenters? Joyners? Smiths? Glaziers?
and as many as areneceffary for the carry ing on of a Building till it be arriv’d
to the perfeftion of its firft Idea 6 But though it is not (as I Paid) expefted

nS Account of Architects

that thefe fhould trouble themfelves with much Learning, or have any thing to
do with the Accomplifhments of our Maflers Superintendent : Yet, fince an
exad and irreprochable Piece of Architecture fhould be uoXoepw toiiws MatkefeocS
the Flower and Crown as it were of all the Sciences Mathematical , it were infi¬
nitely defirable that even every vulgar Workrnan whofe calling is converfanta-
bout Building > had attained to fome degree of competent knowledg in the
more eafy and uleful principles of thofe lineary Arts , before they were admitted
to their freedom , or employed in defignes of moment. And truely, if a
through infight of all thefe (as undoubtedly they are) be neceffary to a good
Artifi ; I know no reafon but fuch a Perfon (however it hath pleafed our
Schools in Vniverfities to employ and decree their Chaires') might with very juft
reafon be alfo number’d inter liber ahum difciplinarum Profejfores , and not thruft
out as purely Mechanical , inter opifices , a converfaticn hitherto only admitted
them ;asif talking , and peculation about words, were comparable to ufeful de¬
monstrations : Great pitty I fay it is, that amongft the Profejfurs of Humanity
(as they call it) there fhould not be fome Lectures and Schools endow’d and
furnifh’d with Books-, Injlruments , Plots, Types and Modells of the moft excel¬
lent Fabricks both in Cm/ and Military Architecture, where thefe moft noble and
neceffary Arts might be taught in the Englijh and Vulgar Tongue, rerrivcl to
their proper, and genuine fignifications ; and it is to be hoped, that when
his Mojefty fhall perfeft his Royal Palace of White-Hall according to the de-
fign, he will in emulation of thofe Heroes, Francis the Fir Si, Henry the Fourth ,
Cofimo de Medices,thcHukes ofVrbin,Richlieu and other munificent Spirits,deftine
fome Apartments for the eafe and encouragement of the ableft Workmen in this,
as in all other ufeful. Princely and Sumptuous Arts : I mean for Printers, Painters,
Sculptors, ArchiteSIs, See. by fuch liberal honor aries as may draw them from all
parts of the World to celebrate his Majefty by their works topofterity, and to
improve the Nation For from fuch a bounty and provifion as this
flSfT. Id it appears to haVe been, which made Vitruvius to leave us thofe his incompara¬
ble Books, that we have now enjoy’d for fo many ages ; for fo he acknowledges
it to the great Auguftus, Cum ergo eo beneficio effem obligatus, ut ad exitum vitje
non haberem inopidt timorem, &c.

I might upon this occalion fpeak fomething here concerning the Matter and
Form of Buildings, which after the Perfons who undertake them, are their moft
folid and internal Principles ; but I purpofely pafs them over at prefenf,
becaufe they do not properly belong to this Difcourfe, but to fome more
intire Treatife of the whole Art than is yet extant amongft us, and to be de¬
livered by fome induftrious Perfon who fhall oblige the Nation with a through
examination of what has already been written by Vitruvm 1. 2. c. 3. ad 9.
Palladio 1 ,c.2 .Leon Alberdi 1. 2. c.45. 46. Han. Bafbdfo 1. 1 1. Sir H. Wctton 'm
his concife and ufeful Theorems, Sec. and in what fhall be found moft beneficial
for ouxClmatfit were I fay, becoming our great needs that fome ingeniousPerfon
t;;:i did

and Architediure.

did take this in hand, and advance upon the Principles already eftablifh’d,
and not fo acquiefce in them as if there were a Non Ultra Engraven upon
our Columns like thofe of Hercules , after which there remained no more to be
difcovered; at leaftin the apprehenfion of our vulgar Workmen, who for
want of fome more folid directions, faithful and ealy rules in riiis nature, fill
us well whole Cities as private dwellings with rubbageand a thoufand infirmities^
as by their want of fkill in the profeftion, with the moft fhameful incongruities
and inconveniencies in all they take in hand ; and all this for want of Canons
to proceed by, and humility to learn, there being hardly a Nation under hea¬
ven more conceited of their underftanding and abilities, and more impatient
of direction than our ordinary Mechanicks : For let one find never fo juft a
fault with a Workman, be the fame of what My fiery foever, immediately he fhall
reply, Sir , 1 do not come hither to be taught my Trade, I have lerv d an Ap-
prenticefinp, and have wrought ere now with Gentlemen that have been fatisfied
with my work, and fometimes not without language of reproach, or calling
down his Tools, and going away in wroth ; for fuch I have frequently met
withal. I do not fpeak this to diminifh in the lead from the capacitie and
apprehenfion of our Nation who addift themlelves to any of the moll polite
and ingenious Profejflons, but to court them to more civility, and to humble
the ignorant : For we daily find that when once they arrive to a through-in^
fpe&ion and addrefs in their Trades, they paragon, if not exceed even the mod
exquifite of other Countries ; as we may fee in that late reformation and im¬
provement of our LockeSmiths work, Joyners, Cabbinet-makers and the like, who
from very vulgar and pittiful Attifis, are now come to produce works as curi¬
ous for their filing, and admirable for their dexterity in contriving, as any we
meet with abroad, and in particular for our Joyners, they excell all other Na¬
tions whatfoever.

But as little fupportable are another fort of Workmen, who from a good con¬
ceit of their abilities, and fome lucky jobb (as they call it)do generally ingrofle
all the work they can hear oft while in the mean time they difdain almod to
put their own hands to the Toole, but for the moft part employ their Apprentices ,
or fome other ignorant Journey-men ; as if the fame of their Mafters abilities
did any thing contribute to the well performance of Work undertaken,
whiled in the interim he hardly appears himfelf till all the faults be flubber’d
over, the remedy cither impoffible or expenfive, and our Mafter ready to re¬
ceive his Money, which fuch Gentlemen- Mechanicks commonly cOnfume on
cafe and bravery, being puffed up with an empty conceit of their own abili¬
ties, which (God knows) is very indifferent, and the lefs for want of exercifo
and humility : a praftcie fo contrary to the ufage of all other Nations, that
even fuch as by their knowledg in this kind, have meritorioufly attained to
the Titles of Military Dignity, have notwithftanding purfued their Employ¬
ments and Callings in perfonal cares and afliduous labour^ to their eternal

120

Account of Architects

fame fo long as one Stone fhall lie upon another in this World , as I could
abundantly exemplifie in the works of Cavalieri Fontane , Bramanti , Sanfo •
vino , Baglione , Bernini, Fiamingo , &c. whofe egregious labours, both before,
and fince the accumulation of their honours, do fufficiently juftify what 1 re¬
port concerning them. And that all fuch may know I reprochno man out
of fpleen or the leaft animofity to their Perfons (for fuch as are not guilty will
never be offended at my plainnefs, or take this for a Satyrs') I cannot but ex¬
ceedingly redargue the want of more acquaintance in thefe fo neceffary and
becoming Arts even in moft of our Nobility and Gentry , who either imagine the
Study of Architecture an abfolute non-neceffary , or forfooth a diminution to
the reft of their Education , from whence proceeds that miferable lofs of fo
many irrecoverable advantages during their Travels in other Countries , as ap¬
pears at their return ; whereas if it were truly confider’d, there is nothing
which does more properly concern them, as it contributes to their external
honour, then the effe&s of this illuftrious An : Befides, thefe being Perfons of
better parts, are moft likely to be furnifh’d with the beft abilities to learn,
and fo confequently enabl’d to examine, and direct fuch as they lhall let on
Work, without reproch either to their conveniency or expence when they at
any time Build, not forgetting the Ornament and Luftre which by this means
rich and opulent Struftures do add to the Commonwealth ; their remaining at
this day no one particular, for which Egypt , Syria, Greece , nay Rome her felf
{beheld in all there State , Wisdom, and Splendor ) have been more admir’d and
celebrated, then for the Glory, Strength and Magnificence of their incomparable
Buildings ; and even at prefen t, the moft noble Touth of Italy are generally
fo well furnifh’d with inftru&ions touching this laudable At, that the knowledg
of Architecture (and to fpeak properly in its teams isrc.) is univerfal, and fo
cherifh’d, even in men of obfcure extraction, that (as is already inftanc’d)
Architects (I mean the Manuary as well as Ingeniary') have been, and are yet
often rewarded with Knighthood, and the Art profefs’d as a moft becomming
and neceffary accompli foment in divers of their Academies : Add to this the
Examples of fo many great and illuftrious Perfons as (without the numeration of
thofe our Mafter has recorded in the Preface to his feventh Book) I might here
bring upon this Theater famous for their fkill and encouragement of this fump-
tucus Art: Emperours , Kings, Popes , Cardinals and Princes innumerable, who have
all of them leftus the permanent Monuments of it in the feveral places of their
Dominions, befides the infinite advantage of well managing of great and pub-
lick expenses, as well as the moft private and Oeconomical, an handfom and
well contriv’d houfe being built at a far lefs charge, than commonly thofe
irregular congeftions , rude and brutifo inventions, which generally fo deform
an 1 incommode the feveral habitations of our Gentry both in City and

But I have done, and I hope all that love and eherifo thefe Arts, and par¬
ticularly

. teilura.

and ArchiieSure. 121

ticularly tha Lof Architedurey will ndt be offended at this Zeal of mine in be-
fpeaking their efteem of it, fince if I have faid any thing in reproof of the
errours either of the Perfons who pretend to it, or of the Works which they do
to its difgrace ; I have only fpoken it that both may be reformed and
made the better. But leaft whileft I thus difcourfe of* the Accomplifhments
of our Artifts , and defers of the Pretenders , I my felf be found Logodtdalus ,
and as they fay, Architedus Verhorum only, I proceed from the Perfon to the

Thing.

Architedura, deriv’d from the Greek Subftantive ’A^r a nd^«wi
which is by fome taken for the Art it felf, by others for the Work , ddiftcio
ipjo is opera , by us for both, is thus defin’d ; Scientia pluribiusdifciplinis , is? va-

rih eruditionibus ornata,cujm judicioprobantur omnia quae a cdteris artibut perficiun-
tur , opera. Architecture (fays our Mafter Vitruvius) is a Science qualified with
fundry other Arts, and adorn’d with variety of Learning , to whofe judgment
and approbation all other Works of Art fubmit themfelves. Or rather
in fhort and as effe&ual, cujut preceptis diriguntur , is judicio probantur , &c.
forfoit feemstobe more eXplicite, fince in a Geometrical Problem there are
both the Conftrudion , or Dire&ion Opens faciendi, which thefe Pr accept a define ;
and alfo, the Demonjlration or Probation Operis jam faCti , which is fpecified by
the Judicium in the Vitruvian definition. I conceive therefore the firjl part to be
the more Effential and infeparable ; the latter to be but the refult of the former ,
and no more ingredient into the Art then the image of a Mans face in a Glafs is
conftitutive of him.

But to forbear any farther glofs, you fee what a large dominion it has, and I
might go on: Ea nafcitur exfabrica is ratiocinatione, to {hew that fhe is the Daugh¬
ter ofBuildinggnd Demonjlration: Then, (for fo I affeft to render it)that Building
h the refult of an affiduom and manual pradice upon apt materials according to the Mo¬
del propounded', and laftly, that our Ratiocination it an ability of explicating what we
have done by an account of thejufiproportions ; In a word, it is the Art of Building well ,
that \^,handfomly,folidlygnd ufefully ; for fo(ro omit many other Elegies a ndDefi-
nitionsj I find it eftablifhd;and therefore the learning of our Arckited without
the diligence of our Workman , umbram , non rem confecuta videtur , may ferve to
rear a Tabernacle , not build a Temple , there being as much difference between
fpeculation 2nd pradice in this Art, as there is between a Shadow and a Subfiance ;
but with what advantages thofe perfons proceed who both know, andean ap¬
ply, I have already demonftrated ; and when we confider that the whole Art
confifts in the moft exaft and elegant order imaginable, it is not to be won¬
dered there have been fo few able men of the Profeffion : Sir H. Wotton, T*ho rec¬
kons thofe two parts for one, that is, the fixing of the Model to a full expreffion
of the firft Idea , pafles (with our Mafter ) to the fpecies or kinds of this difpoft-
tion ; whofe learned names fince our politer Workmen do commonly retain,

I think meet to interpret for the benefit of the lefs knowing* The firft is,

S Ichnographyi

122

Account of ArchitcHs

ichm'u- Ichnography , by which we are to underftand the very firft Defign and Ordi -

ph*‘ nance of a Work or Edifice, together with every partition and opening, drawn
by Rule and Compafs upon the Area or Floor, by Artifis often call’d the Plan
or Plat-forme as in our reddition of the Parallel: The Greeks would name it
fates y%ci<pr) Veftigii defcriptio , or rather Vefiigium operis , the fuperficial effor-
mation of the future Work, which our Ground-plot does fully interpret. This
is properly the Talent and Work of the chief Architett or Surveyor himfelf
(and indeed the moft abftrufe and difficult) by which he expreffes his con¬
ception and Idea for the judicious collocation, idoneous and apt difpofition,
right cafting and contrivement of the feveral parts and Rooms according to
their diftinft offices, and vfes ; for as Ordination imports the quantity , fo does
this the quality or the Building . To this fucceeds

QnUgr*. Orthography , or the erect elevation of the fame in face or front defcrib’d in
pbla' meafure upon the former Idea : Some do by this comprehend the fides like-
wife (but fo will not i) to be feen as well within as without the Model. It
' is in truth but the fimple reprefencation of that part oppofite to die eye of the
beholder, and thence by Italians /’ Alzato or /’ impiedi , facciata and Frontif-
piece, without fhadows or other deceptions, and the feccnd fpecies of difpofition .
The laft is,

sccHogn. Scenography , or (as fome) Sciagraphy , which is the fame object elevated upon

the fame draught and center in all its optical flexures, diminutions and fhadows,
together with a fore-fhortning of a third flde, fo as the whole Solid of the Edi¬
fice become vifible in Perffdiive (as they fay) becaufe compofed of the three
principal lines ufed in that Art, vig. that of the Plan or Plot , belonging to the
firft Idea ; that of the Horizon or eye-line, which denotes the fecond ; and the
line of diftance which makes the third with all its adumbrations and fhadowings,
FrSpkUe. which diftinguifhes it from what they call tide Profile fignified by the edging
ftroaks and contours only , without any of this folid finifhing. From thefe
three Ideas it is, that fame Eurythmia , and Venufta fpecies / Edificii does refult
EuryJml which creates that agreeable harmony between the feveral dimenfions, fo as
nothing feems difproportionate, too long for this, or too broad for that, but
. correfponds in a juft and regular Symmetry and. concent of the Parts with the

S ytftfHCtrtct ■*- ’ ^ ^ **

whole, as the due make of each member in the body denominates the com-
pleatnefs of the figure , be it in Statue , or the Life . Laftly,

Decor , which is not only where the Inhabitant , and habitation fuite, feeing
Dao'f' that is many times accidental ; but where a Building, and particularly the Or¬
naments thereof, become the fiation, and occafion, as Vitruvius exprefly fihews
in appropriating the feveral Orders to their natural affe&ions ; fo as he would
not have fet a Corinthian Column at the Entrance of a Prifon, nor a Tufcan before
the Portico of a Church, as fome have done among us with no great regard to
the decorum : Here therefore it is, that the Judgment of an Architect ought to
be confulted, fmee even in the difpofition of the Offices of our moft private

houfes

and Architeffiure. 123

houfes,we find no where greater abfurdities committed, whiled we many times*
find the Kitchin where the Parlour fhould have been, and that in the firft and
beft ftory , which fhould have been damned to the lowermod and the word*

Philander feems to be in fome doubt whither the Architect did after all this
make a Model of his future Work, but refolves it in the affirmative for many rea- uoie,Um-
Tons, ita enimfutura deprehenduntur errata, isr minimo impendio, nulloque incommode;

&c. for fo (faies he) future errors may be timely prevented, with little cod, and
without any trouble before the remedy prove incorrigible. There is nothing
certainly fpar’d to lefs purpofe , and more to the detriment of Builders then
the fmall expence of making this Prototype , which 1 would have f ram’d with
all its Orders, and Dimenfions , by the a ffi fiance of fome fkillful Joyner , or other
ingenious Artift in fome flight material, which may be to remove, uncover
and take in pieces, for the intuition of every Contignation , Partition , Paffage,
and Aperture without other adulteration by Painting or Gaudy artifice, but in
the mod fimple manner as Sir H. Wotton prudently advifes, for reafons mod
material and unanfwerable ; but from all which we may deduce how abfo-
lutely neceffary it is, that an Architrfi have more than a vulgar dexterity in the
Art of Vefigning and Drawing, Qu& autern confer ant, imo, qua fint Architefto
penitm neceffaria ex artihus, hate funt, Piftura ist. Mathematica ; in ceteris docrufne
fit , non labor 0: So the Patriarch, lib. 9. upon that of our Mafler, lib. i.c. u
Per it !ps Graphidos, &c. and then concludes, Neceffaria igitur eft Architelh Gra-
phidis (i.e.f defignationi* ut Italidicunt peritia, as being a thing, altogether indi-
fpenfable ; but of this already, for by the Method of this Inftitution 1 fhould
now proceed to the more particular didributions of this Art, whither in re-
fpeft to private or publick Buildings, but I leave it for the next Edition of
what remains of the incomparable Palladio, when either by the fame it is be¬
gun, or by fome other charitable hand, it fhall be taught to fpeak Englijl) ;
and the title of this Vifcourfe, which' minds me of a through explanation of the
more dificult tearms of this Art , for being principally, if not only converfant
about the five Orders and their Ornaments (the fubjeft of our learned Par allelf
calls me back to a diftinft Survey of them, and I will begin at the Foundation.

Properly Foundation is the very Cofer or ground-bed fe arch’d ad folidum,isr in rmdmtrd
folido , as our Mafler advifes, and upon which a wife man would only Build tum'
and raife the Proto-fubftruUxion , or fird beginning of his Wall. This the
Greeks call'd,

• ■ / * J

Stereobata for its artificial firmenefs, as immediately fucceeding the under - Stereobi*

filling of the former (for fo we name thofe dry Materials upon the Surface) to
be the Bafes of the whole Edifice : I am net ignorant that fome contend a-
bout this Office , confounding it with the Stylobata and Pediftals of Columns ,
affigning them a regular thicknefs of halfe as much more as the Orders they
fupport ; and then the Italians call it the Zoccolo , Pillow or Die (becaufe of its
Cubique and folid figure ;) But I rather take it for the Bafamento of the whole

S % which5

124 Account of Architects

which I would therefore rather augment than contrad to that ftinted dimen-
fion; The Reverend Daniel Barbaro , c. 8. 1. 2. defcribes us all the kinds of
them, and calls this in particular (and which confirmes this divifton) the
conceiled part, or fondatio in imo: And then by this elegant diftfinVtion defines
StruUxura to be that of Fronts ; Inftruffion , that of the middle parts ; and Sub-

sub(irnttio.flruftion? of the lower ; though this laft notion does likewife many times im¬
port fome vaft and magnificent Building, for fo Baidu* has cited that paflage
in Liu . 1. 6. where he names the ftately Capitals SubftruUiion only, and other
Authors SubftruFtiones infanas , for fuch vaft and enormous Fabricks : But that!
we may not omit the Pediftal (though of rarer ufe ambngft the Aments') I come
next to the

ItdljlT™ Sty lob at a ; For our Pediftal is vox Hybrida (a very mungrill) hot d Stylo, as

fome imagine, but d Stando , and is taken for that folid Cube , or fquare which
we already mentioned to be that to the Column impofed, which the Suptrftru-
Fture is to thus. It is likewife call’d Truncus the Trunk(though more proper¬
ly taken for the ft) aft or body of an Order) contained between the Cornice and
Bafe (for Pediftals have likewife thofe Ornaments infeparably) alfo Abacus,
Dado , Zocco, &c. which is fometimes Carv’d with bajf-relievo in Hiftorical Em¬
blems. , as that of Trajans at Rome : Poggio , from its office of fupporting, and
then ’tis conftantly adorn’d with a Cornice confifting of a Cymatium on a Corona
with Lifts, and fometimes Scotia or (hallow cavities and an addition of an upper
Zocco or Plinth of a fmaler hollow and part of the Cymatium , upon which the
Scamilli imp ares Vitruviani were fet, if defign’d for Statues : Or, if without, for
Columns . The Bafe has likewife an Ornament of a Cymatium inverted upon a
Plinth , as may be feen in the Corinthian Sty lob at a. But, as we affirm’d, the

Antients did feldom ufe Pediftals unlefs where Railes and Balufters were requi-
lite, and Parapet walls for Meniana , Pergola* and Balconies , and where they
ferv’d for Podia or pofaries of a leaning-height for which they had a flight
Cornice affign’d them ; and this minds me of the crTrjXaj among the Greeks , as
indeed feeming to have been deriv’d from the Eaftern ufed, and to the
Jews (we read) enjoyn’d upon their flat-roofed houfes, thefe balufters being in
truth but a kind of petty Columns under the Railes or Architrave be¬
tween Pediftal and Pediftal for that moral reafon, the fecurity of the Walkers,
efpecially at what time they ufed to fpread Tents upon them, as frequently they
did : But if (as we faid) for the better eminence of* Figures , then with the
impofition of

Scamilli impares , of which there is fo much contention amongft our hyper¬
critical Archite&s, though in fine they prove to be but certain Zoccos or Blocks
elevating the reft of the members of an Order, Column , Signum or Statue from
being drowned or loft to the Eye , which may chance to be plac’d below their
Horizon ; that is, beneath the Proje&ures of the Stylobata Cornices and other
Saillies , by an agreeable reconciliation of Geometry with the Opticks : In a word,

the

the Pedidah of Statues do well exprefs them, and thofe halfe-round elevations,
or other unequal emmencies upon the Sty lob at a, be they one or more Plinths
like fo many fteps fuccccding one another for the advantage of what Hands
upon them. But to proceed to the Orders and their feveral Members as they
naturaly rife in Work.

'The Bafe deriv’d from the Greek Verb [ioujvHv imports the fudent, prop Baft.
or foot of a thing, and is in Architecture taken not for the lowermoft member of
an Order, but for all the feveral ornaments and mouldings from the Apcphyges of
rifing of the Columns fhaft, to the Plinth : Sometimes alfo for the Spire, which s
lying on the Plinth like the Coile of a Cable derives thence its name, though
fomething improperly methinks, conlidering thefe members do not run Spiral
but obliquely rather and in orbem : In fum, the Bafts is to the Column and its
Intablature, what the Stylobata is to the Bafts, and the Stereobata to the PedU
dal. But to come to each particular.

The Plinth is the firft, and very lowed member of the Bafe . The Word
denotes a Brick or fquare Tyle of which happly they were ufually made, but ra¬
ther for the refemblance, becaufe of the weight it was to bear, and therefore
more probably of fomething more folid to preferve the foot of the Column
from rotting, when firft Pillars were made but of the tapering bodies of Trees,
as we (ball fhew hereafter : Plinth is likewife taken for a like member about
the Capitel, but then always with its adjunft, the Plinth of the Capitel, &c. be¬
caufe placed jud above the Echinus as in the Boric , Ovolo or quarter round lit
the other Orders . The Italians familiarly name it Or to, which importing a
round Welt, Hem or Brim, methinks is not fo properly applied to it. The
next is.

Torus, the third member of the Bafe(of which there is fuperior and inferior in the row,
Bafes of all theOrders,theTufcan excepted) comes from denoting the round-

nefs and fmoothnefs of it ; Torus enim quicquid rotundum, or rather as Scaliger,
quod artiftcialiter elaboratur is tornetur, becaufe artificially made fo ; but why
not from its fwelling and brawninefs ; It much refembles the fihape of a round
Cufhion, torques or Wreath, thence , and the impofed weight makes it
feem to fwell out as if indeed it were duffed, and that with reafon fay the Critics
for the more eafy and fafe pofition of the

Trochile, from rgi’x? or rfoyu. arundledr Pully-wheele which it much re- Tmhucti
fembles,and is that Cavity appearing next to the Torus:The Italians named Ba -
Clone, or more properly Cavetto, and Cortice, tanquam baculi cortex, the hollow
rind of a Tree, as Barbaro . Our Workmen retain the antient Scotia, from settu*

Xxollcc, its obfeurity proceeding from the {hade of the hollownefs, but more
vulgarly they call it the Cafement, and it is ever the Cavity between the for¬
mer Torus's , and alfo beneath the Doric Cornice feparated from the plain
Margen or regula cal’d Mentum and Corona by a fmall CymaXtum, or fometimes a
Lift only : The Capital letter C, is a perfeft refemblance of this Moulding , and

126 Account of Architects

It is indeed frequently bordured or rather {hut in with lifts. Laftly,
ap*g*iu4. The Aftragal, which befides divers other things (as the Septem fpinee Ver¬
tebra neer the neck) has here its analogy from that bone a little above the
Heel, whence the French name it the Talon or Heel it felfe (as our Author of
the Parallel ) nor improperly ; but by the Italians il Tondino being a kind of
halfe form, fometimes wrought in the richer Orders like an over-caft hem or
edgtothe larger Tore, which frequently is plac'd between, as in the Ionick, Bale
with two Scotias, and fometimes (though rarely) juft about the Plinth of the
Bafe, as fome marfhal it : Otherwhiles again it is taken for the CinHure or Coder
next the Hypotrachelium and diminution of a Column lifted on both edges ;
and it runs alfo under the Echinus of the Ionick. . Our Englifber of Hans
Bloome names it a Bolted, or Fillet in any part of a Pillar, but I take a Fillet to
be more flat, this more fwelling and (as I fay) Torus-hhe. Moreover we
fometimes find it dividing the Fafcia of the Corinthian Architrave where it is
wrought in Chapletts and Beads or Berries ; and finally in two places, both a-
bove and beneath the Lifts joyning immediately to the Square or Die of a Pe-
diftal where Sty lob at a is introduced ; and fo we have done with the ornaments
and mouldings of the Bafe. . ; . ~r

column. The Columns are next, which being of five denominations or Orders are to
ArchiteHs what the Modes be in Mufick, and the Carminum genera among Poets,
all Buildings whatfoever being under the regiment of fome one of them, or a*;
leaft ought to be. It is here properly that round and long Cylinder diverfly
named by Authors, Scapws, Vivo,Tige,Shaft,Fuft,Trunke, &c. contain ingtjjhe bo¬
dy thereof from the Spire of the Bafe, or lately mention’d Aftragal, to the Capitel:
Sometimes for the fubftance and thicknefs of the bottom of the Pillar, and in
Authors for the Checks of a Door Secundum Car dines ist Antepagmenta, of which
confult the learned Baldus in the Word Replo de Sig. Voc. Vitr . alfo the perpen¬
dicular Poft of a Winding-flair es ; but for the moft part for that [olid of a
Column which being divided into three parts, has (as fome delight to forme
Enufis. them, but without any reafon or good authority) an, Entafts or Swelling, and
under the Collerine or Cirnbia of the Capitel, a ContraCture and comely diminu¬
tion, by workmen call’d the breaking of the Pillar. But the primary ifliie or

jfophyges. rife of the Shaft next the Aftragal and neather Cinthre is call'd the Apophyges
from the Greeks word ’Amy* pvyyj, becaufe in that part the Column taking as it
were a rife, feems to emerge and fly from the Bafes like the procejfus ot a bone
in a mans leg ; and fo it is now and then applyd to the Square of Pediftals
likewife. In fhort , 5tis no more then the rings or feruls heretofore ufed at
the extremities of Wooden Pillars, when formerly they were made of that ma¬
terial, to preferve them from fplitting, afterward imitated in Stone-work as
an infeparable part thereof; and thence doubdefs it is they took their origi¬
nal contraction ; Such trees as grew in the moft upright tenor and comely di¬
minution, being chofen for this employment,

Thefe

and Architectures.

Thefe being refembl’d in Stone (that is of one entire one) by Solid# were
diftinguifh’d from the Struftiles , or were fuch Pillars as were compoun¬
ded of many :

But it is not here only that thefe rings have place, but next the above de-
fcrib’d Afiragal likewife,and where-ever encounter’d by the names of Annuity
Cinfta. , Cimbia , Liftello , Fillets , Regula , &c-. broader or more narrow as belt
fuits with the confecutive member ; like thofe very fmall Liftellos or Annulets
under the Echinus of the Doric Capitel, by the Italians call’d Gradetti , Degrees,
and by the interpreters of P. Lomazgo, Rulers ; and fo in like manner the
Cimbia beneath the Afiragal immediately above the Contraction. But Regal#
and Fillets are lomewhat larger in places where they edg and fhut in the Cy-
matium of a Cornice , Abacus, or Vo hit a: Moreover I note, that Liftello and Qnlia
are broader than Annulets which I take to be the very leaft of all the Mould¬
ings in an Order.

Now, before we enter upon our Capitel , which feems to be the next colle¬
ctive Member ; we may do well to obferve,that the feveral Parts , Members and
Projettures we have hitherto delcrib’d, and fuch likewife as remain, receive
all their dimenfions, and proportions from one univerfal Scale , call’d by our
Artifts the Module , which though diffidently delcrib’d in the beginning of the
Parallel , I think fit to interpret once for all, to imploy the Semidiameter of a
Column of any Order at the rife of its Shaft upon the fuperior member of the
Bafe , and divided into thirty equal parts which we call Minutes. The Team in Vi- Minute!-
truioiws feems to be Ordinatio, which he explaines modi c a Commodity, and 1 take
for a Module , part or quantity by which to calculate, ad juft® and compofe the Moduhu
reft of the Members of an Order : For inftance,In the Ionic Column the Diameter of
the thickeft part is that proportion, as if it have 14. fuch Modules , the
Bafe fhall challenge One , and fo the reft of the parts according to their feveral
proportions. Note, that to diftinguifh it from Model (by which I would figni-
fie the folid Type or reprefentation of a Building') I read it Module with the
fifth Vowel as the former is with the fecond.

Towards the upper part or diminution of a Column (which is always the
lefs abated if very tall (as is alfo to be obferved in the Chanelling of thofe Or¬
ders where 3tis proper) becaufe the diftance efteds that in them, which Art
produces in the lower) is the

Hypotr ache Hum, which from the Greek. \3svTga.y*)Xiov colli pars infra cervicem ny^
denotes the neck ol the Column, being that part of Scaprn below the Afiragal : ckw
It is as ’twere the Freeze of the Capitel, and fo by fome tearm’d, as alfo the Colder
and Gorgerin, where the Pillar feems as if it were ftrangled, and may well be
taken for a part of the Capitel it felf,having both in the 7 ufcan and Doric another
Annulus or Cin&a about it next to the

Echinus, a Bottle cut with an edg, as in our Bloome tis rudely explain’d : It
is indeed-a quarter round, and fomedrnes more, dwelling above the CmEtures,m6

commonly

Account of Architects

commonly next to the Abacus, Carv’d with Ovals and Darts (by our Workmen
call’d Eggs and Ankers as little politely) which is frequently (hut up with a
fmaller Ovolo of Beads and Chaplets , or like ornament ; but fo adorn’d, it com¬
monly runs under the Ionic Voluta and that of the Compofita , and next the Doric
Abacus ; as in that lingular example of the Trajan Column it creeps under the
Flinth of the Capitel. Such as pretend to Etymologies for every thing they
hear, will have it 7mpft to or oiwb^iv iccvwv becaufe of a kind

of felf contraction ; others more rationally from the refemblance and rough-
nefs in the Carving lytvhs T^^r^g^-as briftling with its darts like a Hedg-hog :
Under this, as we faid, is a. fmaller Bracelet again which incircles the Capitel un¬
der the Voluta in the Compofita, taken for the Fuferole ; and fo likewife in the other
Orders where the Ovolo or Echinus properly enter, having a fmall moulding be¬
neath it by Palladio nam’d Gradetto, but of this already : In the Corinthian an
Echinus frequently comes in ’twixt the Corona and Dentelli .

The Voluta, or as we tearm it properly enough, the Scroul, is not the deri¬
vative of any Greek. Word, but the Latine, Voluta, ft Volvendo, for that it in¬
deed feems to be roll’d upon an Axis or Staff : It is the principal, and only
appropriate member of the Ionic Capitel in imitation of a femal Ornament, as
both our Mafter Vitruvius, and the Author of the Parallel have learnedly illu-
ftrated. The Face of it is call’d Frons the fore-head a little hollow’d be¬
tween the Edg or Lift, and the Return or Pillow betwixt the Abacus and Echi¬
nus refembles the fide-plaited treffes of Womens haire, to defend as it were the
Ovolo from the weight of the Abacus (over which the Voluta hangs) and fupe-
rior Members, by the lame reafon as was intimated in the Torus of the Bafe .

There are alfo Voluta s in the Corinthian and Compounded Capitels, but they
confift rather of certain large Stalkes after a more Grotefco defigne, as may be
gathered from thofe Rams horns in the Capitel of the Columns taken out of the
Bathes of Diocleftan : and in truth they are only the pretty flexures and fcrowl-
ings of Vitici like the tendrells of Vines, whereof the four larger ones bend under
the Horns or corners of the Abacus, the other four cflefier fize, juft under the
middle of the Arch thereof, beneath the flower : then the bottom or foot of
the Calathus or Panier (for that’s divided into three equal parts as will here¬
after appear) fhews in front two entire Leaves, and as many half ones, vi%. at
the angles, and ’twixt thofe again two Stalkes , which, with a tall one in the mid¬
dle (that touches the midft of the Arch where (as we faid) it puts forth z flower
upon the brimm of the Abacus) make in all fixteen in number. To be yet as
accurate as may be in fo nice and florid an Ornament, thefe Leaves did of old
refemble either the Acanthusfthon^n a little more indented and difguifed)from
the inventor Callimachus, or (as fome) the Olive zndPalmes, for fo it is warranted
by Villalpandus from that Capitel of his defcription (landing in the Temple of
Solomon . At the extreams of thefe leaves do ifliie the Caules, and Codds break¬
ing with the Helices, the reft of the Stalkes adorn’d and furnifh’d with budds

and ArchlteBum. 1 25)

and tender foliage by the diferetion and invention of the ingenious Carver ■„

But the domineering Tendrells and Flexures confift of greater, or fmaller Va¬
lutas , emerging from between the Abacus and Echinus in fmaller Leaves and
Stalkes, middling, and inferior foliage, as they are diftinguifh’d by Workmen in
the three above nam’d divifionsof the Calatkus ; but inftead of thofe Helices ,
arour Corinthian homes, the Compofita has her Voluta much more refembling
the Ionica, and in lieu of thofe, divers Capricious fantfies, as Horfes-heads , Ea¬
gles, and the like ; fedeadoftis non probantur , they are rejected by all good Ar*
chiteffs, fays Philander .

Now the Center or Eye of the Ionic Voluta is made by Artifts with a Ca¬
thetus, which (not over nicely to diftinguifh from Perpendicular becaufe evhetua
the operation of them proceeds from diftinft tearms) is meant by a Line let
down from above, interfering the Line of the Collar ( as ’tis demonftrated in
Chap. 24. of the Parallel, with the Hijlory of its inveftigation) and that fmall
circle at this point of interfefiion is Metaphorically 0 cuius, the Eye, from whence
the perfeft turning of the Voluta has been after an exquifite manner (though
by few obferv’d and pra&is’d) found out ; it being here indeed that our Work¬
man will be put to the exercife of his Arithmetic k, as appears by that accurate
Calculation in Nicholas Goldmanuss reft i cut ion of this becomming ornament*

Laftly

The Abacus (from ct/3a| or afidmov which fignifies a fquare Trencher, or Mim‘
Table ) is that quadrangular piece commonly accompanied with a Cymatium, and
ferving in (lead of a Corona or drip to the Capitel, whereof it is the Plinth and
Superior, as has already been noted. This it is which fupports the neather
Face of the Architrave, and whole Trabeation : In the Corinthian and Compofita
the Corners of it are nam’d the Hornes, the intermedial Sweep and Curvature
the Arch, which has commonly a Rofe or fome pretty Flower Carv’d in the
middle of it.

Thus we have finiflrd chat Head of our Column, which being taken in ge¬
neral for all thefe Members together, is commonly diftinguifh’d by the name of
Capitel, taken, I fay, for the intire Ornament from the Ajlragal and firft Cinfture
of it, to the Plinth which bears up the Architrave : But it is not to be omitted*
that the main body of the Corinthian Chapter (of which we have given a large
defeription under the Title of Voluta') confifts of a Bell, or Basket rather*
which is that plain and folid part under the Cauliculi, Stalks and Flowers alrea¬
dy mention’d, and which in order to their triple Series of Foliage (which feems
to include and fhadow the body of it as ’tis reprefented in that curious defigne
of Callimachus s invention) is divided into three equal parts : But of this a-
boundantly. There is likewife another Capitel, or rather a Diminutive of it, by
the Greeks call’d MtpccXiiiov, which does not only fignifie (as foraetimes) the
former Calathus and Basket, but more properly that Braid or Lift above
the Triglyph in the Freeze.

T Moreover*

I'jO

Striges.

Str it.

*Antx.
lm ami*.

Account of Architects

Moreover, to the bodies or Shafts of fome Columns appertain
Striges , which (not to infift upon what the Learned Vojfius and other Cri¬
tics have contended) are thofe excavated Channel Is, by our Wor kmen call’d
F lutings and Groeves : Thefe are particularly affected to the Ionic Order (rarely
the Doric') uti jlolarum rugae fm imitation of the Plaits of Womens Robes, as our
Matter refembles them ; and fome of thefe Channells we find to go winding a-
bout Pillars , &c. but it is not approved. Between thefe are the Striae, we may
properly Englijh them Raies or Beames; which being twenty (or as fome 24.) in
number, are thofe plain fpaces between the F lutings in the Ionic, Doric, Corinthian
and Compofed Orders ; which three laffc have (with fome fmall difference) bor¬
row’d this Ornament from the Ionic. And in fome of thofe (as in that Diocle -
fian Doric Example)they are fo made,as to reduce the Rays to a fharp edg only,
by their contiguity without any fpaces at all. But fometimes we find the
Striges to be fill’d up with a fwelling,a third part from th eBafe, and thefe we
may call Stavd. \ or Cabl d-Columns ; for fo 1 think fit to interpret the French
Embaftone , and Albertis Rudens. Thus we find fome Corinthian Pillars often
treated ; the Stria being commonly a third or fourth pait of the widnefs of
the F lutings, and diminilhing with the Contraption of the Scapus, unlefs the Shaft
be very high, in which cafe the diftance does it without the ayd of the Work¬
man ; fometimes alfo we have feen them totally filled. We fhould now come
to the Entablature , but a word of

P illaflers, call’d in Greek. Par aflat je, and by the Italians Membretti, for Modul
and Ornament obferve their entire Columns if they (land alone ; but fo they
do not lor their prominencie, which being to gain room, reduces them fome¬
times to the fquare, whereof the narrower fide is frequently applied to Walls ,
by which alone fome will only have them to differ from Pillars themfelves ;
but that ought to be underftood of fuch as have no Impofts and Arches, upon
which occafions the Lights they let in do much govern their proportions, as
Palladio has judicioufly fhew’d in /. 1 . c. 13. &c. Likewife, where they hap¬
pen to be at Angles, and according to the furcharg’d weight ; and therefore a
Rufiic fuperficies (as Sir H. Wotton has difcreetly obferv’d) does beft become
them, as well as a greater latitude, for fo they have fometimes been enlarg’d to
almoft a whole vacuity ; unlefs where for their better fortifying, we find half
and fometimes whole Columns applied to them. Where they fupport large
Cornices and Freezes in Wainfcoted Rooms they do properly and handfomly,
provided their due proportions be obforved, without thofo ridiculous difguife-
ments of Pediflals and idle fancies which we find frequently wrought about
them. Alfo in Cbimny-pieces , Fronts of Buildings , Galleries, and Door-cafes
from whence they were nam’d Antae : The

Impofts (by Vitruvius call’d Incumbat) which I mention’d, are nothing but
their Capitels or more protuberant heads , upon which reft the ends of the
Arches ; but where they exceed the Square and regular thicknels, they were
nam'd T Pilar-

"T

and Architectures . 1

PiU, and their Quadras or Tables (as we yet lee them in antient Altars and pu*.
Monuments ) were employ’d for Infcriptions ; but if fhorter, and more maflie,
they ferv’d for the Arches of Bridges , for Buttrefes and the fuftentation of more
-folid works.

Arches confift commonly of Ample halfe-Circles , and now and then of fome For*ices-
leflTer point, according to the occafion : At Venice , Pifa and other Cities In Italy
they are form d to an incredible and admirable fiatnefs- by the wonderful ad-
drefs of the Workman, for the eafe of fuch as pafs over the Bridges, and without
interruption of the Streams. The Mafonry at the front of thefe being cut by

a peculiary^e of the Stone is calld Pennanted, till it come to joyn with the

Menfula, which ( quafi jjIcu) feemes to be locked to the Pennants in guize Ue"f“la-
of a Wedg, and therefore by our Artifts nam’d the Key-ftone : But if Vaults are
made, two Arches interfed, which is the ftrongeft manner of Cameration. And
here I think not amifs to note, that the Antients very feldom made ufe of Arch¬
ed Doors or Windows, unlefs at theenterance of Cities, and Triumphal inter column-
ations for the more commodious ingrefs of Horfe-men arm>d with Spears, and
Enfignes, &c. This Barbarity therefore we may look upon as purely Gotique,
who confidering nothing with reafon, have introduc’d it into private houfes,
and been imitated but by too many of our late Architects alfo, to the nofmall
diminution of the reft which is better conduced. By Inter columnations I do
likewife comprehend all Terraced and Cloifier d-Bmldings, Porticos, Galleries ,

Atria's, &c. contiguous to, or ftanding out from the body of Edifices in which
cafes they are becommingly proper : And this does naturally lead me to our
Pillars again, and to confider the [paces between them.

Inter columnation fignifies the diftance or voyd between Pillar and Pillar,
but this not fufficiently explaining the various diftance of the feveral orders lunmtll0‘
in work, renders it, even in divers of our Engliftj Authors where they treat of
this Art, of fundry denominations : For thu s it was ufually call’d

Infulata Columna, where a Pillar ftood alone like an IJland or Rock in the
Sea, the one inviron’d with Ayr as the other with Water :

Arcofiylos belonging chiefly to the Tufcan Order , was where the Intercolumn -
ation is very wide, as at the entrance of great Cities, Forts, &c. upon which
occafions attheleaft four or five Modules may be allow’d.

Diaflylos, though fometimes improperly taken for any Inter columnation, is DUfoM.
moft natural to the Doric and may have three or four Diameters, nay fometimes
fix in the Ionic, as fitted for Gates, Galleries, and Porches of P allaces or lefler
Buildings, and thence were called Tetraftylos and Hexaftylos.

The Syfiylos nam’d alfo Pycnojiylos (as much as to fay thick.o[ Pillars becaufe ..

feldom alow’d above a Module and an halfe, , though fome diftinguifh the firft
by a Module more) belongs chiefly to the Compofita, and it was us’d before
Temples, and other publick and magnificent Works of that nature; But where in
fuch ftru&ures the Inter columnation did not exceed two , or two and a quarterns

T 2 in 1

/

Account of Archudis

in the Corinthian and efpecially the Ionic? the proportion of diftance was fo
efteem’d for its beauty and other perfections, that it was by a particular emi-
Erfyios. nence tearmed Eujlylos? as being of all other the moft graceful. Where the
fides had ranges of Columns? as in thole large Xyflas? Porticos? Atria* and VefiE
hula of the Greeks and Romans? which were certain Arched or plainely Archi «
travel buildings in form of Cloyfters and Galleries ? commonly handing out
from the reft of the Edifice? and now and then alone, the Antients named it
Antyproftylos? P eriftylos? &c. Thefe (for being already explain’d by Paula*

Lomatim? and long fince made vulgar) I have only touch’d for the benefit of
our Country Workmen? who do frequently, even amongft our Engliflj Tranfla-
tors of Arcbiteftonical Treatifes , meet with thofe hard names without their
interpretation, when they difeourfe of thefe open and Airy Ornaments „
whether adjoyning to, and fupporting more Contignations and Stories ; or in-
vironing them, and prominent from them ; and becaufe it is for this, that our
Mafter Vitruvius fo paflionately wifhes that his Ar chit ell fhould be (as of
old they ftyl’d Callimachus ) Philotechnos? an induftrious fearcher of the Sciences ?
which is the fame that a good Philologer is amongft our Literati .

Moreover inftead of Columns the Antients (as now the Modern but too often)
ufed to place the whole Figures of Men and Women to fupport and bear up
intire Cornices , and even huge mafles of Buildings ; but of this at large in Cap*
22. 23. of the Parallel. Part 1. Thefe they alfo nam’d Telamones or Atlas's?
lArebi- the French Confoles where they ufually fet them to fuftain the Architrave? which
for being the next Member in order to the Capitel we come next to explain.
Epipyihn, The Greeks nam’d that Epifiylium? which we from a mungril Compound of
two Languages d%yy\—Trabs (as much as to fay the principal Beam and Sum-
mer)or rather from Arcus and Trabs?cdl\ Architraveflh velint trabem hanc Arcus
vices fuftinere quia Columna ad Columnam finuari filet? as Baldusmth reafon from
its pofition upon the Column , or rather indeed the Abacus of the Capitel. It is
the very firft Member of that which we call Entablature in our tranflation of
the Parallel ; and formerly in the Tufcan Order framed for the moft part of
Timber in regard of the diftant Inter columnation : It is alfo frequently broken
into two or three divifions, call’d by Artifts
Fafci*- Fafiias? or rather, plain Faces? a little Prominent, the loweft being ever the
narrowed: : Thefe Breaks arriving fometimes to 17. fometimes to 18. Minutes
in breadth, fome rather choofe to call Faces then Fafiias? Swathes? Fillets or
Bands? by which they are ufually diftinguifh’d into firft? fecond? and third? efpe¬
cially in the three latter Orders? for in the Tufcan and Boric they do not fo pro¬
perly enter, though our Parallel yield us two approv’d examples : Thefe are
frequently, and indeed for the moft part, feparated with a fmall Aflragal cut
into beads or fum fuch flight Carving ; the Fafiias of the Architrave likewife
curioufly wrought, as in that wonderful Inftance of a Corinthian Entablature
taken out of Bioclefians Bathes. Fafiia? in the notion I would rather take it,

fhould

> and Architecture. 133

fhould be for that narrower band about the Tufcan and other Bafis as lome
call it ; or rather the fquare lift under the fuperior Toms in home Pediftals
nam'd Supercilium , and not properly the Torus it felf, as in divers Englifh Pro¬
files they erronioufly make it ; for Supercilium leans to be a kind of Corona dr sumdu-
drip to the fubjacent Members. In Chimneys the Architrave is the Mantle ;
and over the Antepagrnenta or Jambs of Doors and Lintells of Windows the Hy- tilt*1'
pertbyron which the Italians call Soppra frontale, and our Carpenters the King-piece
immediately under the Corona to fupply the Freeze, efpeeially in the Dork
Order.

The uppermoft fafcia of the Architrave for the moftpartis, and indeed al-
waies fhould be (the Tufcan only excepted) adorn’d with a Lyfis, or Lypu

Cymatium inverted, which is no more than a wrought or plaine 0-gee as our cymmua.
Workmen barbaroufly name it ; The tearm is K unduly and %nifies
a routing Wave to the refemblance whereof it is moulded. By fome it is call’d
the Throat , as from the Italian and French , Gola, Geule or Doucine , and of thefe
there are two kinds, the firft and principal hath alwaies its Cavity abovey and
doth conftantly jett over the Corona or drip like a Wave ready to fall, and then is
properly call'd Sima ; the other has its hollow below, and is nam’d inverfa : sim.
The Letters thus placed do reafonably well exprefs thefe kind of mouldings ,
which not only enter into the Member of the Architrave where tisever inverted \
but (as was faid) perpetually above the Corona , where they do frequently en¬
counter and meet together with a fmall Regula between them, but then the nea-
ther is ever the reverfed, and very narrow ; though ofttimes both of them
Carv’d and adorn’d with Foliage, &c.

Cymatium is alfo about the heads of Modilms and conftitutes a part of them,
as likewife it enters into Abacus,znd on Pediftals as in Stylobate Corona, and the
Bafe thereof, where we find them both inverted ; though I remember to have
feentheupmoft with the red a alfo in the Cornice above mention’d. Butin
ftead of Cymatium feparating the Architrave and Freeze , Tmia oftentimes fup-
plies the room.

Taenia is properly Diadema, a bandlei or fmall Fillet with which they ufed to
bind the head ; or rather thofe Lentnifci and rubans which we fee carv’d and
dangling at the ends of Gyr lands. The Interpreter of Ham Bloome names it the
top of a Pillar , but very infolently ; it being indeed the fmall Fafcia part of
the Doric Architrave fometimes (but feldom)with a narrow Cymatium , or Regula
under it, as that runs under the Triglyphs : Some call it the neather Taenia (as
Philander frequently) to diftinguifh it from the bandage which compofes the
Capitelli of the Triglyphs and continues between them over the Metops and not
feldom under a Cavetto or fmall Cymatium with which Suidas and other learned
Critics many times confound it. In a word, ’tis that which feparates the Epifty-
Hum or Architrave front the

Freeze, the Word in Greek is Zttocpog^y, and does genuinely import the

imaginary

Account of ArchitcUs

imaginary Circle of the Zodiac depifted with the twelve Signer but by our Ar¬
chitects ’tis taken for the fecond divifion of the Entablature above the Columns ,
being like a fairc and ample Table between the former Teni^ and which though
oftentimes plain fbould be Pulvinatus pillow’d, or fwelling in the Ionic Order ;
but in the Doric enrich’d with the Triglyph and Metops , and with a thouland
Hiftoricaly Grotefque and other flored inventions in the reft of the Orders (Tus¬
can fexcepted ) efpecially the Corinthian and Compofita. Our tearm is deriv’d
from the Italian Freggio which denotes any Fring or Embroider’d Belt : Phi¬
lander faies a Phrygionibus , not from the Phryges a people of the Minor Afia as
fome erroneoufly, but Phrygiones , a certain Broidery or flour d Needle-work. , as
one fhould fay Troy-flitch (whence haply our True-fiitch ) in imitation whereof
they wrought Flowers and compartments upon the Freeze .

Belides this of the Entablature , the Capitels of both Tufcan and Doric have the
Freeze likewife commonly adorn’d with four Rofes and as many fmaller F lower s,
for which caufe tis call’d the Freeze of the Capitel alfo as we noted, to diftin-
guifh it from the other ; likewife Hypotrachelium from its pofture between the
Aftragal and the Regula or Annulus of the Echinus : This Tufcan Freeze is plain
and very Ample ; but in the reft of the Orders it is employ’d with the Echinus ,
as in the Ionic a, , and the Capitel Cauliculi or ftalkes in the other two, thefe Rofes
are alfo fometimes Infculped under the prominent Horns or angles of the Doric
Abacus .

The Triglyphs which I affirm’d to be charged on the Doric Freeze is a moft
infeparable Ornament of it. The Word in Greek, imports a

three-Sculptur’d piece , quafi tres habens glyphas : By their tringular Furrows ,
or Gutters rather, they feem to me as if they were meant to convey the Gutt<z
or Drops which hang a little under them ; though there are who fanfy
them to have been made in imitation of Apollo s Lyre , becaufe firft put in
Work (as they affirme) at the Delphic Temple : You are to note that the two
angular hollows are but half Chanel! d^ whence they are call’d SemicanalicuU ,
to diftinguifh them from the Canaliculi whofe flutings are perfect, and make up
the three with their interfiles or fpaces, being as many flat and flender Shanks
for fo we may interpret the Latine Femora : The Italians name them Pianetti
fmall Plaines , and fo do we ; and they conftantly reach the whole Diameter of
the Freeze being crown’d with the formerly mention’d Capitel , part of the upper
Tdtnia , and determining with the neather , where it intercepts them from the
prominent

Gutte or Drops . It is certainly the moft confpicuous part of the Doric
Freeze , fuppofed to have been at firft fo Carved upon boards only that had
been clap’d on the extremities of the Cantherii or Rafters ends which bore up¬
on the upper Fafcia of the Architrave to take off from the deformity. How
indifpenfably neceflary they are to be placed in a juft and due fquare from
each other, and perpendicularly over their Columns , the Author of the Parallel

has

V ; * /

and Architecture.

has fihew’d : Chap. 2. Part. 1 . as in that of the Temple of Solomon according to
Villalpanduss defign, how they have been admitted into the Corinthian Freeze ,
but without die Guttz ; and fo in the Perfique. Thefe Guttje are as I faid
thofe fix appendant Drops or Tears adeded only to the Doric Order , feeming
as it were to trickle down and flow from the Channels and Shanks of the Triglyphs
through the neather Txnia , and fmall Reglet or Moulding under it.

Guttee are fometimes made in fhape of flat Triangles , fometimes lwelling
like the Section of a Cone or Bell, and therefore fo call’d by the French Architects.

They are alfo under the flat Modilions which lupport the Corona eighteen in num¬
ber, as in that mod confpicuous elevation of the Profile after the ftately relique
at Albanoxizw Rome, than which nothing can be imagin’d more noble and mag¬
nificent. Alberti calls thefe Gutt£,Clavos , as conceiving them to be in refem-*
blance of Nailes, but without any reafon lor his conjedure.

Metopdi, are the next in order, and are nothing elfe fave thofe empty fpaces uctop*.
inth e Freeze ’twixt the Triglyphs in the Doric Order, either pur£ and plaine,or
figur'd \ for that is not neceflary alwaies. The Word is deriv d Of and oth),
which is foramen, intervallum inter Sculpture cava,or if you will, the hiertignium,
as importing here radier the forenamed fpaces, than what, thole pretend who
will fetch it from the Mstottov or forehead of the Beads whofe Sculles (re¬
maining after the Sacrifices') were ufually Carved in thefe intervals ; becaufe in
thefe vacuities were the paffages for the ends of the fioyfis, Timbers and Rafters
which reded upon the Architrave, and where to fill up that deformity, they
ufually made it up with fomefuch ornaments,fuppole of Skulls, Difhes, and o-
dierVeflels, nay fometimes with Jupiters Squib or Thunder boll, Targets, Battle-
axes, Rofes, and fuch other Trophies, as was found mod appofite to the occafion,
and not prepoderoufly filled them as our Workmen too often do, without any
relation to the fubjed ; fo as 1 have frequently feen Oxes heads Carv’d on the
Freeze of an Houfe of Pleafure in a Garden, where Rofes and Flowers would have
been more proper. There are fundry other ornaments likewife belonging to
the Freezg ; fuch as Encarpa, Feftoons, and Frutages tyed to the Hornes of the
Skulls with T&riidt and Ribbans tenderly flowing about this member, and
fometimes Carried by little Puti, Boys, Cupids and a thoufand other rich inven¬
tions to be found in good examples. But we are now arriv’d to the third and
lad member of the Entablature feparated from the Freeze by the fuperior
Tamia, the Cornice.

The Cornice, Coronhi as it is. colled ively taken for its feveral and didind con$>r
Mouldings and Ornamentsy comprehends a fmall 1 . Regula, 2. Cymatium, 3.
Dentelli, 4. Ovolo or Eehirm, 5. Modilions or Bedding-mouldings which fup-
port the Corona, 6. Sima red a and inverfsfndtdy a Cavetto)y. andladly another
Regula which concludes the whole Order . We will begin with the firft, being

fometimes a fmall Scotia confiding of an half or quarter round, that now
and then alfo both in the Tufcan and Dorica divides the Freeze from the Cornice

in

1 36

9 vile.

Dent tUi.

fSoiiUcni

Account of Architects

in place of/the Taenia? as does the Cymatium in the reft of the Orders. The

Ovolo is next in the plainer Orders ,, but it is inrich’d in the Corinthian like
the Echinus*, whichfif you pleafe) you may take for the fame thing in an Itali¬
an drefs : In the Tufcan and Doric ’tis turn’d like a Scima or Cymatium , and is
fubftituted for fupport of the Corona , but in the laft ’tis ufually accompanied
with a (lender Regula above it, and in the Corinthian both above and beneath,
where it is likewife frequently Carv’d and adorn’d with a broad Welt like a
Plinth .

Dentelli?are the Teeth immediately above the Cymatium of the Freeze ,by foitie
named alfo AJferi from their fquare form ; I fay in the Corinthian and Ionic ? dec,
for in the Doric Order they were not antiently admitted, or rather not properly ,
according to the opinion of our Mafler ? though we muft needs acknowledg
to have found them in themoft authenti cal pieces extant : As for their Dimen¬
sions they kept to no certain rule, but made them fometimes thicker, fometimes
thinner, fquare, or long, and more in number, but commonly the /paces lefs
by an half, fometimes by a third part then the Teeth? which were themfelves
twice as high as their breadth? and frequently (efpecially in the more polite Or¬
ders') beginning with the Cone of a Pine? pendent at the very point over the an¬
gular Column : Lomatim is yet more precife in this particular, and gives them
as much height as the middle Fafcia of the Architrave , Projeffure equal, Front
twice the bredth of their height, and a third part lefs than their bredth for va¬
cuity . The Dentelli have oftentimes a fmall Regula , and now and then more
then one, as ufually in the lonica , where it has likewife an Ovolo or Echinus for
the bedding of the Corona ; but if inriched, and that two of them encounter, one
fhould be Ample and plain, as where it happens to be inferted beneath it : Next
to this fuperior Echinus are the Modi lions? but inftead of them Dentelli are
thought ro have been firft inftituted, and for that reafon fuperfluoufly joyn’d
where Mutules are ; and therefore where we find Taenia under Modilions it is not
properly divided into Teeth , nor is it rafhly to be imitated, though we have
fome great examples to countenance it. That of the Pantheon may fafely guide
us herein, where it is left plain for this very caufe, and that the reafon of the
thing does not in truth allow it : However, it muft be acknowledged, nothing
has been more grofely abufed even amongft our moft renown’d Mafters.

Modilions , being certain fupports in form of Corbells , Cortouzes and Mutules
are a kind of Bragets to the Corona ? and in thofe Orders where they enter, fupply
the part of the Bedding-moulding as our Workmen ftyle the Ovolo in this place,
for fo they frequently do in the Doric and Ionic? but then without any other or¬
nament than a flight Cymatium to edg them, and to be alwaies placed over the
Triglyphs : In the Corinthian and Compofeta they are enrich’d with all the deli-
catenefs and curiofity imaginable, capp’d, as I faid, with a curioufly Carv’d
fmall Cymatium where they are contiguous to the Planceere or Roof of the Co¬
rona, Our ordinary Workmen make fome diftin&ion between Modilions and

4

and

m

thofe other forts of Braget ^ which they call Cartells and Mutates ? ufu-
ally Carv’d like the handles of Veffels Scroufd , Flower’d and fomctinres
Sculptur’d with the Triglyph ; and fuch were the Ancones amongft the Greeks ?

That there fliould be no Guttx under Mutules is the opinion of divers learn’d
Architects? though (as was faid) we frequently find them Chanel! d like the Tri -
glyph , and that in authentick Examples : Philander is for it, and pronounces
rhem more proper than even under the pureft Triglyph? for fignifying (faies lie)
Canteriorum Capita? unde fiillicidium fieri certum efi? drops and lficles commonly
hanging at the ends of our Rafters upon every weeping fihower, whereas Tri-
glyphi import only the ProjeEures of the Beams and Timbers nothing fo much
expofed : But this I leave to the more judicious.

Mutules quafi fjAnkQy have their name from their defe£f, as being made Mmir
thinner and more abated below than above, and therefore naturally and di-
fcreetly deftin’d to places where they are but little burthen’d with weight, as
here under that little remainder of the Cornice ; and fo where they are fet un¬
der the Pedarnents and Lintels of Doors and Windows : Moft prepoftrous there¬
fore and improper is our frequent aligning fuch weak fupporters to fuch
monftrous jetties and exceffive Super fir uUxures as we many times find under
Balconies? Bay-Windows and long Galleries? where iriftead of Mutules the Anti-
ents would have plac’d fome ftout Order of Columns : But by thefe unreaso¬
nable ProjeEures it comes topafsy that in time our ftrongeft Houfes are de-
ftroyed, and drawn to their irrecoverable mine, i For the proportion o fMu-
tules? I commonly find them a fourth part higher than their breadth, their In¬
tervals being as wide as two ; b!ut neither do I find thefe fo conftantly regu¬
lar, only that there be ever one plac’d at the corner 's and returnes of the Coro¬
na? and then if they iriterchangablyjdiffcr as to the fpaces and 'is the RafteYs di-
reft, there are examples aboundant for their j unification. ; i y
. I fhall not need to define what is meant by PtojeEures when I have faid it projefa*.
is the fame our Englijh Authors calLthe Sailings over and out Jettings of any
Moulding : The Italians name them Sporti? the Greeks Ecphorat? and for the
fame reafon all Margents whatfoever which hang over beyond the Scapws of a
Column are ProjeEures.

Corona? is thelaft confiderable Member remai ning of the intire Entablature , Coma-
and feems indeed to fetthe Crown upon the whole Work: I fay Confiderable ?
becaufe being regularly plac’d on the uppermoft Ovolo? or Mutules? it fefves
to defend all the reft of the Edifice from the Rain and injuries of the Weather?
and therefore has its PtojeEures accordingly. Itffe fornctimeg taken for the
intire Coronix or Cornice with all its ornaments, but ft riEly?f or this fuperior part
of it’twixt two Cymatiums ;for even the Ovolo or Echinus forms an Ogie by a
turn under the Planceere. We find the Corona omitted and quite left Out of
that (lately Arco di Leoni? but it is worthily reproved by our Author 6f the
Parallel? as being a member of indifpenfable ufe, Corona is by fome cafd

V Super-

138

Sieperciti

flanctert.

r tfcn.

Account of Architects

Super cilium, but rather I conceive Stillicidium the Drip, and with more reafon,
fo the French Larmier , Gocciolatoio and Vent ale by the Italians to denote its
double office of protecting both from Water and Wind : For this realbn like-
wife have our Lathe Authors nam’d this broad Plinth Mentum a Chin , becaufe
it carries off the Wet from falling on the reft of the Entablature , as the promi¬
nency of that part in mens Faces keeps the fweat of the brows, and other li¬
quid diftillations, from trickling into the Neck; and in imitation hereof the
Antient Potters invented the brimming of their Veffells , by turning over fome of
the duftile Matter whem the Work was on the Wheel. Sometimes there
have been two Coronas in a Cornice , as in that Corinthian Inftance of the Rotunda ,
and fo it is frequently ufed in Stylobate under Gula inverfa ; and truly it may
be juftly repeated, as the expofure and occafion requires ( fo it be not too
near one another) all ProjeLiures being but a kind of Corona to the fubjacent
members.

The under part of the Roofs of thefe Coronas (which are commonly wrought
hollow, by fometimes (as we fay’d) making part of the Cymatium ) are by our
Artifis call’d Planceeres , and thole the Cofers wherein are cut the Rofes , Pomgra -
nadesy Flowers or Fretts , which adorne tfe [paces ’twixt the heads of the Modi-
Uons and Mutules. This Ceiling the Italians name Soffito, and it lignifies not
only that part of Corona which (allies over, but the Lacunar , Lacm or Plain
of all other Roofs made of Tabulations and Boards appearing between the Joyfls,
and which (as now,efpecially in .other Countries) werealfo formerly Gilded,
Carvd andmoft magnificently Embofs’d with Fretts of wonderful relievo ;
nay fometimes to the excels of Inlayings with Ivory, Mofaique and other rich
and chargeable Works. Pliny I.35 . cap. 1 1. tells us of one Pamphilim the Ma~
fter of Apelles to have been the firft which’ brought this Roof painting into
vogue : But I refer the Reader; who thirds after more of this, to the learned'
Salmafius on Solinm p. I2i<£. Nor is yet the Corona perpetually plain as
we commonly fecit ; fometimes (though rarely indeed) I find ft '-Carv'd' alfo,
as in that incomparable Compofiia of Titus s Arclr, and that of Dioclefians Bathes
in thcCorinthian Order, and as is indeed every individual member of that iritire
Entablature to the utmoft excefs of Art ; but how far this may be imitable,'
confult the Judicious Parallel, while ’tis yet conliderable that it is there but
with a kind of Sulcus or Channel, in imitation of Triglyph , or a fhort Fluting
rather, being indeed more proper for the carrying off the Water , than any
other Work could have been devifed. Corona has over it a fmall Regula, 6r
an inrichment of fome Height Chaplet in the Corinthian, See. after which’ Cymath
1/77?, as in that of Thuds Arch before rehearfed ; fometimes likewife with an
Ovoh or Echinus cut with Ovals, and Dartsgs in that example ofAWs Frontifi
piece , and upon this again the double Cymatium, whereof the ftrft is inverted,1
and ever the neathermoft and molt narrow, the other ReMa, very large and pro¬
minent, being now and then adorn’d with Lyons heads plac’d juft oppolite to

the

and Architecture. i%p

the Modilions ( of which fee that curious refearch of the learned Dr*

Brown in his Vulgar Errors') though fometimes they are adorn'd with Foliage
only. Laftly, for a final Shhrm or Super -impofition (if I may be indulg’d fo
to name it) we are now clim’d to the moft fupream Projediure, and ultimate
part of the whole cornice, namely the

Regula , which l'ome make a part of the Sima or Gula redid, by Palladeot he r^uU.
Intavolato , and which I think to be the foie Member which I never remember to
have feen any where Carv'd, but alwaies Plain, though in fome of the Orders of
neer eight Minutes in breadth. It is very true, that Scotia (which I nowand
then call Cavetto or a fmall hollow) does in fome laudable examples fupport
this Member in ftead of Cymatium, but not fo frequently ; and that the Tufcan
Cornice terminates in a Cymatium without this Regula, or rather in an Ovolo as
in thofe examples after Sebaftian Serlio, &c. but it is not after a true gufto, and
the fancy is particular .Regula,cdlYd alfo Liftello,Cindia, &c.(of which fomething
already hath been fpoken) is alwaies that Supercilium or fuperior member of
the Cornice, though it be likewife taken for that which is by fome call’d Quadra ,
being thofe two Lift? commonly including Scotia, as we finde it in the Ionic
Spira both above and beneath : Sometimes alfo it fignifies the Rings or fmali
Feruls begirting the S caput of a Column near the Apcphyges, or the Plinth of a
Pedijlal : Therefore I diftinguifh them, though yet they may be accounted
the fame, feeing they ufually import any fmall plain Fillet dividing greater
Members ; for fo Philander calls almoft all Ample parts broader or narrower,
which like Fillets encompafs the reft ; as in the Doric-Trabeation , Regula, Sima ,
Cymatium, &c. In the Capitel, Regula, Cymatium , Plihthut ; In the Cornice
of the Sty lob at a alfo Regula, Cymatium, Ajiragalus : But where it is no lefs con-
fpicuous, is in that part of the Triglyph, which jets out under the Taenia, and
from which th tGuttde depend, where it feems to be a part of the very Archi¬
trave it felf.

And may thus much fuffice to have been fpoken of the Cornice or upper
Member of the Trabeation, which we mean by the Entablature, for both thefe rulwi0,
tearms fignifie but one - and the fame thing, vig. The Architrave, Freeze and
Cornice ; which I therefore the more precifely note, becaufe fome Writers ap-
ply it only to the very cover and upmoft top of the Orders ; but fo does not
our Country-man John Shute, whofe Book being Printed Anno i s84.(and one of
the firft that was publifhed of Architecture in the Engliflj tongue) keeps rather
to the Antient Tearmes than by mixing them with luch barbarous ones as were
afterwards introduc’d, indanger the confufion of Young Students and fuch as
applied themfelves to the Art. Finally, to reform another miftake, I think
good to note that where we finde Coronix in our Authors, it is rather meant for
all that Moulding projecting over the Dye or fquare of the Pedijlal^ by fome cal'd
alfo Cima) than this conclufive fuperior member of the Entablature which we
name the Cornice: But I have done, nor needs there more be added for the perfect cim>

V 2 intelligence

140 Account of Architects

tympi-

mm.

Suppol at*

rhoim.

intelligence of the mod minute Member and Ornament mentioned in this Par at-
lei , or I conceive in any other Author whatfoever treating concerning this
Art , and naturally applicable to the Orders : Notwithdanding,inafmuch as there
doe yet happen fome Superftruftures which both in Works and Books of this
magnificent Science havelikewife names of doubtful fignification, and to fadsfie
all that may be farrher defied for the rendering of this undertaking more ufeful
and infinitive , I will in brief proceed to what is ufed to appear further in
Buildings , where they did not flatten the Reefs and Cover of Edifices, and which
is certainly of all other the mod graceful.

Thofe Roofs which exalted themfelves above the Cornices had ufualiy in face
a Triangular plaine or Gabel (that when our Workmen make not fo acute and
pointed they call a Pedament') which the Antients nam’d

Tympanum, but this is to be taken now and then for the whole Frontifpiece
from the Cornice to the upmofl part of the Fafiigium or fuperior Angle of it,
and is commonly circumfcrib’d with the fame Cornice that the fubjacent Order
is of. At the Cima or very point, and alfo at each Amgle of this, flood fmaller
Pediftals , for the placing of Statues , Bufls, Times, Lamps of Fire, Pine Cones ,
Bowles, or the like Ornaments , and thefe Sty lob at a were call'd

Acroteria, from axgov fumma pars, we may properly name them Pinacles, for
fo Pinnje and Batlements were made fometimes more fharp, Towring or Spiry,
as pleafed the Workman ; but where they flood in ranges (as not unfrequently)
with Rail and Balaufters upon flat Buildings, they dill retain’d their name,
with this only difference, that fuch as were plac’d between the Angular points
were (like ranges of Pillars') dyl’d the Median or middle Acroteria .

They did likewife fometimes cover(efpecially Temples, and fuch magnificent
and facred Buildings)with a Cuppola, which is that Borne or Hemifpheerical Con¬
cave made in refemblance of the Heavens , and admitting the light at the cop
Center or Navil only, without any Lantern, as is to be feen in that incomparable
piece of the Panthean yet extant : This is much in vogue yet in Italy, efpecially
at Rome and Florence, but it is commonly with the Lantern and other Appertures
to let in day without expofure to the Weather, as appears by that on the fummit
of Saint Peters ; but it takes away, in my poor judgment, fomething from the
folemnefs, and natural refemblance of the other, which yet are happly better to
be endur’d in the more Eafiern Countries where the Weather is condant ; as
we fee it praffisd in what the Pious Helena ereffed in the Holy •Land,
and her Son Conftantine the Great, on that his magnificent Strufture of Santa
Sophia yet remaining at Confiantinople, and to this day imitated by the Turks for
the Covering of their Mofques ; and that it was an Oriental Covering and inven¬
tion, the ©oA(gp of the Greeks was doubtlefs deriv d from the Hebrew w n
Thala fignifying to Sufpend or hang as it were in the Ayr ; but the Italian
name feems to come from Cuppa a Cvue or great waffling Boul, to which it
much refembles. They do form fome of thofe Coverings in other fihapes and

make

and Architectures. 141

make them mult- angular , but they are nothing lo graceful.

Other Acceffories and Ornaments are alfo ufed in Buildings which I will
only touch.

Niches, quafi Nidi , Neafts, of old Concha, are a kind of Pluteus or lmaller Tri-
hunals (as they are yet called in Italy') wherein Statues are placed to protect ctncU
them from the down right injuries of the Weather , as well as for ornament to
plain and Ample Wales : Thefe have their regular Sections, and were ufually
Efcalofd above, either cut into the folid Stone, or wrought in Plafter : When
they were made very much larger and higher, beginning from the Pavement, they
were call'd

Tribunals ,as of old it feems applied to all high and eminent places: We Trn*ui;
have a noble refemblance of this in that magnificent Throne defcrib’d 1 Reg .

10. 19. built by Solomon, which feems to me to have been fuch an ample Nick
in which a Principal perfon might fit, as it were half Canopied over within
the thicknefs of the Wall.

In Walls likewife did they infert many noble and moft exquifite Sculptures
and Hiftorical Fables, half wrotight up, Embofid and fwelling, and fometimes
more then half, which eminencies they now call in Italy by the name of Baffe , Re,iev9t
and Mezgo relievo : Thefe were fometimes wrought in Marble, as in that famous
Abacus and Stylobata, yet extant, of Trajan s Pillar . Their ordinary placing

was in the Fronts of Edifices, as is yet tobefeen in divers Palaces at Rome, and
efpecially in their Villas and Retirements of pleafure, which are frequently in-
crufted with them, but vilely imitated in our expofed Fretworks about London,
to the reproach of Sculpture, efpecially where it pretends to Figures on the out
lides of our Citizens Houfes. But not only the Roofs of Houfes and their

Fronts had their adornments, but the Floor es alfo were inlay ’d with Pavements
of the moft precious materials, as of feveral Coloured Stones and Woods, and
this they call’d

Emblema , continued to this day by the Italians in their Pietra M *
Comeffa ; of which the moft magnificent and ftupendious Chappel of Saint
Laurence at Florence, Paul the Firft's at Sand a Maria Maggiore in Rome, are par¬
ticular and amazing inftances, where not only the Pavement, but likewife all
the Walls are moft richly incrufted with all forts of precious Marbles, Serpen¬
tine, Porphirie, Ophitis, Achat, Rants, Coral, Cornelian, Lazuli, &c. of which
I can number near thirty forts cut and lay’d into a finds or ground
of black-Marble (as our Cabinet-makers do their variegated Woods ) in the
fhape of Birds, Flowers, Landskips, Grotesks and other Compartments moft ad¬
mirably Polifhed, a glorious and everlafting magnificence : But where it is
made of leffer Stones, or rather morfelsof them, aflifted with fmall Squares of
thick Glafs , of which fome are Gilded, it is call’d Mofaic-work, and it does na-
rurally reprefent the moft curious and accurate fort of Painting, even to the
life, nor lefs durable than the former, as is moft confpicuous in that front of

Saint

142 Account of Architects

Saint Marks Church at Venice, the Cappula of Saint Peters at Rome, and the Altar-
piece of Saint Michael near it: Thefe are the Tefellata and Vermiculata or
Pavimenta afarota of the Antients, but of which I do not remember to have
feen any publick Work in our Country . It is yet not to be forgotten the very
Floorings of Wood which her Majefiy the Queen Mother has fir ft brought into
ufe in England at her Palace of Sommerfet Houfe , which has fome refemblance
to thefe magnificencies ; becaufe it is exceeding beautiful and very lafting :
And this puts me in mind of thatmoft ufeful Appendix joyn’d to Mr. Richards
late Translation of the firft Book of Palladio , and thofe other pieces of la Muet
the French Architect, wherein, befides what he has publifh’d concerning thefe
kinds of Timber-floors , &c. you have at the conclufion of that Treatife a moft
accurate account of their Contignations and Timberings of all forts of Stories,
Roofings, and other Erefiions, with their ufe. Scantlings and proper names,
which, for being fo perfpicuoufly defcrib’d, defcrvcs our commendation and
encouragement.

Eum ArchiteRum oportet ufii ejfe peritum & folertem , quidemere , aut adjicere
pr<gfcripti$ velit

J. E.

FINIS

c

To the READE ll.

f-~W~^HETZj5 is no man pretending to this Art, or indeed
8 to any other whatfoever , who does not greedily em -
J| ^// *&** bears the name of Leon Baptifta Al¬

berti, who was a Florentine (gentleman of illustrious
Birth, great Learning, and extraordinary abilities in all the
Toliter Sciences , as he J lands celebrated by Paulus Jovius, and
for which he became fodear to that great Mecenas Lorenzo di
Medici, who choje him, with Marfilius Ficinus, Chriftopherus
Landinus^w^/ other the most refind iVits of that Age , to entertain his
Academic retirements and Solitude of Gamaldoli : %u have an
ample Catalogue of his learned Worlds , Latine and Italian, puHifh ’d
at the end of his Life by Rafael du Frefne that great French V irtu-
ofo, together with the Hiflory of thofe many incomparable Structures
deftgnd and conducted by this rare Genius, extant at this day in Flo¬
rence, Mantoa, Rimini and other Cities of I taly • as being indeed
one of the very firfl that polifh'd the now almofi utterly lofi and extin-
guifh’d nArt of Architecture • in which how fuccefs fully he joynd
Practice to Speculation, there are aboundance of examples ffome
whereof are wrought by his own hands. He composed three Hooks,
De PiCtura, full of incomparable refearches appertaining to that no¬
ble Art : T his of Statues was firfl written in Latine, but it having
never beenmy hap to find it ( and I thin kjt was never Printed) / made
ufe of this V erfion out of the Italian, as it was longfince publifhed by
that ingenim T erf on Cofimo Bartoli, and have fub joynd it to this
Dijcourfeof Architecture, not only becaufe they cannot well be Jepd -
rated , but for that the Author, being one of our Parallel, the Argu¬
ment appear'd fo appofite and full of profitable inflruUion to our
W orfmen, who for want of thefe or the like Rules, can neither fe-
curelywor Rafter the life, or their own inventions, totheimmenfe dif_
grace of that divine Art. This brief Account I thought fit to pre -

font thee, Reader, concerning this Piece of Alberti's,/* being the very
firfl: of the kind whichever fpakpinour Language.

■ . t<aV} - « ■;

Evelyn*

C O S IMO BARTO L I
To the moft excellent Architect and Sculptor
Bartolomeo Ammanti.

ALT HO V G H lam perfectly ajfurd ( my moft ingenious Bartolo¬
meo ) that you , who are fo univerfally accompliftj d, and in particu¬
lar, fo skilful , and well ver fed in Architecture and Sculpture, have no
need of thofe Rules and Precepts , which the moft judicious Leon
Baptift Alberti has publift/d concerning Statues; Tet I eaftly perfwaded
my felf that this addrefs of them to You , would not be a thing unacceptable ,
as being to a Perfon fo well able to judg of that rare fancy , and incom¬
putable worth cf the faid Leon Baptifta, who in a time wherein little or nothing of
Sculpture was known (all good Arts and^>Q\tncto being then in a manner annihil¬
ated and wholly extinffi throughout Italy, by reafon cf the many inundations 0/ Barba¬
rians) implofd the utmoft of his abilities to open an eajy and fecure way for our
Youth, who though unexperiencd themfelves , delighted in this moft noble Art ; and
to incite them tojoyn diligent pradice, with theobfervation of fure and unerring Rules.
No wonder therefore , if from that time forward fuch wonderful Progrefs has been made
in this Art, as has brought it to that perfection wherein it is feen flourifbing at this
day : So as in this Age of ours, we have no need to envy thofe fo much admired Sta¬
tues of the moft celebrated Sculptors of the Antient Romans, when we fball well
confider what has been perform'd by our Countryman Donato, and not many years fence,
the Divine, Michael Angelo Buonaroti , as after him, by Baccio Bandinelli ,
Benuenuto Cellini, andlaftly, by Your Seif; whereof that I may produce feme In-
ftances (befides thofe many Statues which are extant of dll your hands j proclaiming
your ftngular Merits to the admiration of all men , there are to be feen in the Piazza vf
their Highneffes royal Palace, the moft beautiful Judith ; the moft fiupendidus Co-
loffo of David, the robuft and fierce Hercules ; the moft mafterly handl'd Perfeus,
together with ali bis rare and curious adornments ; and which is indeed the greateft of
all the reft. Your own Neptune,n?zf£ the other three Statues, accompanying it, cutout
of one intire piece cf Marble, and fram'd with fo magifteriai a height of Art, as not only
produces wonder in all that attentively behold it ; but does as it were wholly aftomfh
them to contemplate the Ingenuity, the Science, the Induftry, the Diligence, the
AffeCtion, and in fine the never to be fuffir.iently celebrated Skill of the Artifts.
Vouchfafe therefore thatthefe ( however impolifh'dj InftruCtions ,fomuch conducing to
the information of unexperienc'd Touth, be recommended to the publick view under
Tour Name and Protection : And as it has ever been Tour Cuftom heretofore. Love
you Friends, amongCl whom I conjure Tou to efteern me none of the kaft.

Farewell

145

LEON BAPTISTA ALBERTI

O F

S T A T

Have often thought with my felf that the feveral Arts, whereby men at
firft Induftriouflyfetthemfelves toexprefs, andreprefent by Work of
hand, the fhapesand iimilitudes of bodies, fpringing from natural pro¬
creation, took their beginning from the accidental obfervation of cer¬
tain Lineaments either in Wood, or Earth, or fome other forts of ma-
terials, by Nature fo difpos’d, that by altering or inverting fome thing
or other in their form, they appear’d capable of being made to refemble the Figures
and Shapes of living Creatures ; and thereupon, having ferioufly confider’d and
examin d what courfe was belt to take, they began with utmoft Diligence and In-
duftry to try and make experiment, what was neceffary to be added, or taken away
or in any other kind perform’d , for the bringing of their Work to fuch per¬
fection as might caufe it exaftly to refemble the intended form, appearing, as it
were, the very fame thing ; ever marking as they wrought, to fee if they had fad’d in
any thing, and ftill mending as they found occafion, fometimes the Lines, fometimes
the Superficies , Polijhmg and Refolding, till at length (not without much pleafure and
fatisfaftion) they had accomplilh’d their defire : So that it is not a thing fo much to
e admir d, that by frequent praftice in Works of this nature, th e fancies and ingenu¬
ities of men have been from time.ro time improv’d, and advanc’d to that height, that
at lalt (without taking notice of any rude Draughts in the Material they wrought up¬
on, to help them in their intended Defignsf) they became able by their fkill to Defig, i
and exprefs upon it whatfoever form they pleafed, though in a different manner
fome one way, fome another ; for as much as all were not taught, or apply d them -
elves to proceed by the fame rule or Method. The courfe that many take to bring
their intended Figures to perfedion, is both by adding to, and taking from the Mate-
rial ; and this is the way of thofe that work in Wax, Plaifler or Clay, who are there-
fore tearmd Maeftri defiucco, others proceed by taking away, and carving out of the
Material that which is luperfluous, whereby it comes to pafs that they produce out
of whatfoever Mals of Marble, the perfed fhape and figure of a Man which was there
hiddenly but potentially before ; and thofe that work this way, we call Sculptors •

TT r i t0 W^°m are ^lat grave in Seals the proportions of Faces
that before lay hid in the Matter out of which they were raifed. The third fort is’

of thole that perform their Work by only adding to the Material ; as Silver -Smithes
who beating the Silver with Mallets, and diftending it into thin Plates of what fafhion
or lize they think fit, lay thereupon their Superftn/fture, adding and inlarging till they

* have

14^ Leon B. Alberti

have fafhion cl and brought to perfection their intended Defign. And here per¬
haps fome may imagine, that in the number of this laft fort of Artifts Painters are to
be reckon'd, as thofe who proceed by way of adding, namely by laying on of Colours ;
but to this they anfwer, that they do notftrivefo much to imitate thofe lights and
jbadoxvs in Bodies which they difeerne by the Eye, by the adding or taking away of
any thing, as by fome other Artifice proper and peculiar to their way of Working .*
But of the Painter and his Art we {hall take occafion to fpeak elfewhere. Now, as to
thofe feveral kinds of Defigners which we have here before mention’d, though they go
feveral ways to work , neverthelefs they all direct their aims to this end, namely,
that their labours may appear to him that fhall well obferve them, as Natural, and as
like the life as may be ; for the bringing of which to effeft, it is moft evident, that by
how much the more exquifitely they follow fome certain determin'd rule or method
(which Rule we fhall afterwards deferibe) fo much the fewer defers will they be guil¬
ty of, fo much the fewer errors commit , and in all manner of accounts their
Works will fucceedand come off with the greater advantage : What fhall we fay of
Carpenters ? What would they perform to any purpofe, if it were not for the Square ,
the Plummet fine Line fine Perpendicular fend the Compaffes for the making of Circles, and
by the means of which Inftruments they Defign their Angles fime Str eight- Lineifinm
Levells7 and other their Proportions, thereby finifhing and compleating all they take
in hand with the greater exa&nefs, and without which they would be able to do no¬
thing fubftantially ? Or can we rationally imagine, that the Statuarie could perform
fuch excellent and admirable Works by chance, rather then by the help of fome cer¬
tain and Infallible rule or guide , drawn from reafon and experience ? Wherefore this
we fhall lay down for a Maxim ; That from all Arts and Sciences whatfoever, there
are Drawn certain Principles^ Ru lessor natural Conclufions^ which if we fhall apply our
felves with all care and diligence to examine and make ufe of, we fhall undoubtedly
find the benefit of, by the perfeCt accompli fhment of whatfoever we take in hand ;
For as we were firft inftru&ed by Nature, that from thofe lineaments which are found
in pieces of Wood, Earth, Stone or other Materials, maybe drawn(as wefaid before)
the forms of whatfoever Body or Creature the concourfes of thofe Lines refemble ;
fo alfo the fame nature hath taught us certain helps and meanes, by which we are
guided to proceed fecurely and regularly in what we undertake , and by the con-
ftant obferving and ufe whereof, we fhall moft eafily,and with the greateft advantage,
arrive at the utmoft perfection of the Art or faculty we ftrive to attain. It now re¬
mains that we declare what thofe helps are which Statuaries are chiefly to make ufe
of ; and becaufe their principal part is to make one thing to imitate and refemble
another, it will be requifite to fpeak firft of Refemblance, a fubjeCt our difeourfe
might be abundantly ample in, fince Refemblance is a thing fo natural and obvious,
that it offers it felfto our view and obfervation in each vifible objeCI ; not only every
Animal, but even all things whatfoever that are of the fame Species, being in fome
refpeCf or other correfpondent and alike : On the other fide, there are not in the
whole race of Mankind any two to be found fo exquifitely refembling each other, as

• not

of STA7VES. r .47

not to differ fome one tittle in the tone of the Voice, or the fafhion of die No fe, or of
fome other part ; to which we may add, that thofe Perfons whom, having firft bed
held Infants, we come to fee Children of fome growth, and afterwards at the age of
Manhood, if at length we meet them when grown Old, we fhall find them fo chang’d
and alter’d by time, that we (hall not be able to know them ; for as much as the apti/
tude and pofition of thofe numerous Lines and Features in the Countenance ftili al¬
ters, and vary s from time to time, as Age comes on ; . neverthelefs in the fame Vifage
there remains a certain natural and peculiar form, which maintains and keeps up the
refemblance inherent;, to the Species : But we fhall wave thefe things, as belonging
rather to a particular difcourfe, and return to perfue what we firft took in hand to
treat of. fh nol rhf t nt csTi ed/5 b

The Defigti. and Intention i of making refemblancSs among Statuaries , I take to be
twofold ; the firft is, that the Defign or Work intended for the refemblahce of any
fort of Creature (for example, fuppofe i t a man) be fo fram’d, that it come as near in
fimilitude as may be to the' faid Species, without regarding whether it reprefent the
Image of Socrates more then that of Plato, or any other known individual Perfon,fince
it is enough that the Worforefembles a man in general. The other Intention proceeds
farther, and aims not only.at the reprefenting the liken'efs of Man in general, but of
this or that; particular Man ; as namely, - of C^far, or Cato, not omitting to defcribe
the very Habit he wore, the Pofture he affeded, and the Adion he ufed ; whether
fitting in his Tribunal, or making Speeches to the People : It being the proper bufi-
nefs of thofe whoaddid chemfelvesto this laft way of reprefentation, to imitate and
exprefs every Habit, Pofture and Ayr, peculiar' to the Body of that known Perfon
whom we intend to reprefent. Anfwerablc to thefe two Intentions, (that we may
handle the matter as briefly as is poffible) there are efpecially required two things ;
that is to fay, Proportion, and Limitation. In treating therefore of thefe twro parti¬
culars, that which we have to do, is to declare. Firft, what they are : Next, to what ufe
they ferve for the bringing of our Defign to perfedion : Befides which, I cannot
but by the way, take notice of the great benefit that is to be made of them in refped
of the wonderful andalmoft incredible effeds which they produce ; infomuch that
whofoever {ball be well inftrudcd in them, fhall be able by the help of fome certain
infallible marks, exadly to obferve and point out the lineaments, fituation and poll-
ture of the parts of any Body, though it were a thoufand years after, fo as not to faile
to place it exadly at hispleafure, in the very fame diredion and pofture it fhould
have hapned to have flood in before; and in fuch fort, as there fhould not be the leaft
part of the faid Body, which fhould not be reduc'd and refituated toward the very
fome point of Heaven againft which it was originally direded : As if, for example.
You would point out the place with your finger where the Star of Mercury or the new
Moon would rife, and it fhould happen to rife in a dired angle over againft the pomt
of the Knee , Elbow, Finger, or any other part ; moft certain it is, that by thefe means
and helps all this may be done, and that fo precifely that there fhould not follow the
leaft failing or errour imaginable ; nor need there any doubt be made of the certain-

X 2 ty

148 Leon B. Alberti

ty hereof. Befides this, fuppofe I fhould take one of the Statues of Phidiat, and fo
cover it over with Wax or Earth , that none of the Work could be difcern’d, and that
it fhould appear to be only a meer fhapelefs trunck. You might bythefe rules and
helps certainly know how to find out in one place, by boaring with a Wimble, the pu-
pil of the Eye, without doing it any harm by touching it ; and in another place the
Navel , and finaly in another the great 7oe, and fo other parts in like manner ; by
which means you will gain a perfect knowledg of all the Angles and Lines, whether
far diftant one from another, or nearly concurring together: You may alfo, begin-
rung which way you will, and whether following the Original, or the Copy, not on-
ly Draw or Paint, but alfo put down in Writing, the various courfe of the Lines, the
circumferences of the Circles, the pofitions of the parts, in fuch fort that by the
aforefaid helps and means you need not doubt the being able to produce with cafe
fuch another figure perfectly refembling, and of what fize you pleafe, either lefs, or
juft of the fame magnitude, or of an hundred Fathomes in length ; nay,l dare be bold
to fay, that were there but Inftruments to be had anfwerable to fo great a Defign, it
were not only not impoffible, but even no hard matter, to make one as big as the
Mountain Caucafu6 ; and that which perhaps you may moft wonder at, is, that ac¬
cording as the matter might be order’d, one half of this Statue may be made in the
Ifland of Pharos , and the other half wrought and finifh’d in the Mountains of
Carrara ; and that with fuch exari correfpondence, that the joynturesand commit
fures of both parts perfe&ly fitting each other, they may be united into one coin-
pleat ftatue refembling either the Life, or the Copy after which it fliall have been
figur’d : And for the performing of this fo ftupendiousa Work, the manner and
method will appear fo eafy, fo perfpicuous and expedite, that for my part I conceive
it al moft impoffible for any to err but thofe that fhall Induftrioufly, to maketryalof
the proof of this aflertion, work contrary to the rules and method enjoyn’d. We do
not hereby undertake to teach the way of making all kind of refemblances in Bodies,
or theexpreffing of all thofe various afpe&s which refult from feveral differing and
contrary paffions and affe&ions ; fincc it is not the thing which we profefe to fhew*
how to reprefent the Countenance of Hercules when he combats with Anteeus, with all
the height of Magnanimity and fiercenefs which would be requifite upon fuch an Oc-
cafion; orcafting an obliging, chearful and Smiling air, when he Courts his Deia-
nira ; fo as that the Countenance of the fame Hercules fhould upon feveral occafions
be represented with as various afpe&s : But our purpofe is rather to take notice of
all the different figures and poftures that are incident to a Body from the divers fili¬
ations, Geftures or Motions of the feveral members or parts thereof ; for as much as
the proportions and outward lines are one way terminated in a Body that ftands up¬
right, another way in him that fits, another way in one that is lying down, another
way in thofe that turn or incline themfelves toward this or that fide ; and fo, in like
manner, in all other geftures and motions of the Body, of which way of reprefentati-
on our intention is at this time ; that is to fay* in what manner, and by what cer¬
tain and infallible rules, thefe geftures and various difpofitions of the Body may be

imitated

ofSTATVES. 149

imitated and reprefented ; which rules, as we faid before, are reduc’d to two princi-
pal heads, namely. Proportion , and Limitation : And firft we fhall treat of Proportion ,
which is indeed no other then a conftant and certain Obfervation, by examining the
juft number and meafures, what habitude, fymmetrie and correfpondence all the parts
of the Body have one towards another, and that in refpeft of every dimenfion of the
Body, both as to length , breadth and thickriefs.

This Obfervation is made by two forts of Inftruments , a large Ruler , and two
moveable Squares ; with the Ruler we take the lengths of the parts, and with the
Squares we take their diameters and all the other proportions of the faid meafures *
Upon this Ruler then let there be a line drawn of the length of the Body which you
would meafure, that is to fay, from the crown of the Head to the foie of the Foot :
Whence note by the way, that to meafure a Man of a fhort ftature,you are to ufe
a (barter Ruler, and for one of a longer ftature, a longer' Ruler : Bur whatfoever the
length of the Ruler be, it is to be divided into fix equal parts, which parts we
will name Feet , from whence we will call it the Foot-meafure ; and each of
thefe Feet fhall again be divided into ten equal parts , which we may tearm
Inches. 1

- T he whole length therefore of thisModel orFoot-meafure w ill confift of 6 o .Inches ;
every one of which is again to be fub-divided into 10. equal parts, which lefler
parts I call Minutes ; fo that through this divifion of our Meafure into Feet, Inches,
and Minutes, the total of the Minutes will amount to the number of 600. there being
in each of the 6. Feet 100. Now^for the maafuring of a mails Body by this Inftru-

ment. We are thus to proceed: Having divided our Ruler according to the forefaid
manner,! we are to meafure and obferve by the application thereof the diftances of
the parts of the faid Body < as for inftance, hoW high it may be from the foie of the
Foot to the crown of the Head,' or how far diftant any one member is from ano*
thcr : As, how many Inches and Minutes it may be from the Knee to the Navel, or
to the cannel bone of the Throat, and fo in like manner any Other parts ; Nor is this
courfe to be at all flighted or derided either by Sculptors or Painters , fince it is a
thing moft profitable, and abfolutely necelfary ; for as much as the certain meafure
of all the parts being once known, we fhall have gain’d a moft eafy and fpeedy de¬
termination how to proceed in our work with any of the faid parts or members
without committing the lead error : Never think it a matter worth regard or notice,
if any capricious humorift (hall peradventure find fault that this member is too long,
or that too fhort ; fince your Model or Foot-meafure (which is die rule that muft
always direft and govern your work, and then which you cannot go by a more in¬
fallible guide) will foon determine whether you have proceeded well or ill ; and
doubtlefs when you fhall have maturely confider’d and examin’d thefe things, you
will not be to feek inthofe infinite other advantages wherein this Foot-meafure will
prove ferviceable, efpecially in knowing how with abfolute certainty to limit and
determine the longitude of the parts in a Statue of a greater magnitude, as well as in
one of a leffer.

I^o Leon B. Alberti

So as if it fhould happen that you were to make a Statue of io. Cubits, or what
ever other dimenfton, it would be requifite to have your Ruler, Model, or Foot-
meafure likewife of io. Cubits, and divided into fix equal parts, which fhould have
the fame correfpondence one with another, as thofe of the lefler Ruler : In like man¬
ner fhould the Inches and Minutes be proportion’d, whence alfo the ufe and man¬
ner of working would be the fame with the other ; fince half the numbers of the
greater have the fame proportion to the whole intire, as half the numbers of the lefler
have to the whole Intire of the lefler. Wherefore according as the fize of your work
happens to fall out, your Ruler is to be made proportionably. - L

We come next to treat of the Squares, which are to be two ; the firft of which
{hall be made after this manner : Xet two Rulers, in the nature of ftreighdines, i.c.
A. B. and B. C.be joyn’d together fo as to make a right angle ;‘the firft Ruler A. B.
falling perpendicular, the other B. C. ferving for the Bafe : The bignels of thefe
Squares is to be fo order’d, that their Bafes confift of at leaft 15 * . Inches v according
to. the proportion of your main Ruler, which, as we have faid before, is to be made
bigger, or lefler anfwerable to the proportion of the Body you would meafure :
Thefe Inches therefore with their points and Minutes(however they may fall out)be-
ing taken exactly from the Laid Ruler, you muft letdown upon your Bafe, be¬
ginning to reckon from the point of the Angle B. and fo Proceeding on to¬
wards c. >■ of] o'idfif •• x : cm M li-ih

The Square being thus mark’d and divided, as. is to be feen in the example A. B.
C. there is to be adjoyn’d unto it another Square made after the fame manner, accor¬
ding as it is demonftrated by the letters D. F. G. fo as that G. F. may ferve both for*
ftfeight Line and Bale to both. Now tp fhew the ufe of thefe inftruments, L under¬
take to meafure the Diameter of the thiekeft part of the Head H.I.K. by bringing the
two ftreight Rulers A. B. and D. F. of each Square exa&ly oppofite to eaoh other, to
touch the two oppofite points of the thiekeft part of the Head, and by applying inter¬
changeably to one and the fame Level, the Bafe-lines of the laid fquares ; by which
means from the points H. I. which are touch’d by the ftreight Rulers of <thc faid
Squares, we {hall difeover the exaft Diameter of the Head.

of ST AWES

And after this manner, thethicknefs and bignefsofany part of the Body whatfoever
may with great eafe and accuratenefs be found out : Many ufes and advantages we
could reckon up, which might be made ofthis Ruler and thefe Squares, were it need¬
ful to mfiftnow upon them ; there being feveral other waies,much after the fame
manner, which the meaneft capacity may of himfelf find out, for the meafuringof
t e lameter of any part ; as for example, fuppofe one would know how much the
lameter is from one Ear to the other, and where abouts it interbeds the other Dia-
meter which paffes from rhe Head totheNuca, or the like.' Laftly our Workman
may fafely make life of this Ruler and thefe Squares as moft faithful guides and coun-
fellours, not only for the performing of any part of his Work , but alfo at the very
nrft, and before he fets upon it, he will receive much light by the help of thefe In-
ruments, how to begin and go about it ; in fo much that there will not be the leaft
part of the Statue he is to make, which he ,vill not before have examin’d and confider’d
and render d moft eafy and familiar to him ; For Example. Who but a very arro
gant perfon would take upon him to be a Mafter-Ship-wright that had not the perfed
knowiedgof all the feveral parts of a Ship, and how one kind of Ship differs from an¬
other, and what thofe particular parts are which belong to one Ship more then to ano¬
ther . And yet who is there of our Sculptors, let him be a man never fofubtile and
expenenc d in his Art, who if it fhould be demanded of him, upon what ground or
confideration he has made this Member after this manner,or what may be the propor¬
tion ofthis or that Member to the whole ftrudure of the Body ? I fay, who is there fo
diligent and accurate as to have well confider’d and obferv’d all that is requifite, and

which

1^2 Leon B. Alberti

becomes that Perfon to know who would perform as he fhould do the Art whereof
he makes profeflion ? whereas doubtlefly all Arts and faculties are mod advantage-
oufly learn’d by rule and method, and by the knowledg of fome demonftrable ope¬
ration that is to be perform’d ; nor fhall any one attain to the perfe&ion of any Art
whatfoever, who hath not firft comprehended every feveral part and branch of the
laid Art. But thus having fufficiently treated of Meafure and Proportion , and after
what manner it is to be found out by the Ruler and Squares ; it remains that we
fpeak next of Limitation or the prefcribing of Bounds : This prefcription of Limits is
the determining or fixing of a certain period in the drawing of all our Lines, fo as
to direct to what point they are to be continu’d, whether extended out in length,
or reverfed ; how Angles are to be fix’d, how parts are to be raifed, or deprefs’d by
Alto? or Bajfo Relievo , as Artifts tearm it ; each Line , Angle and Reliev having their
due and certain places aftign’d them by the condud of a fure and perfect rule : And
the bed way to put this rule of Limitation in pra&ice, will be by a Line and Plum¬
met, falling from a certain determinate Center plac’d in the middle, whereby the di-
ftances and extremities of’ all the lines may be mark’d out and taken notice of? as far
as the utmoft bounds every way of the faid Body extends : But between the meafure
defcrib’d above, and this aflignation of Limits , there is this difference, namely, that
that Meafure looks farther backward, and fprings from a more native and original
confideration, as grounded upon more common and univerfal principles, which are
by Nature more firmly and fubftantially inherent in all Bodies ; as the length , large- -
nefs and thicknefs of the parts ; whereas the prefcribing of Bounds is grounded upon
the prefent and accidental variety of poftures, refulting from the different difpo-
fitions and motions of the feveral parts of the Body, fhewing the manner how to
limit and fafhionthofe poftures, according to the maxims of Rule and Art.

Now, for the better performance of this laft part of Regular Operation, we (hall
recommend this following Inftrument, which is to confift of three parts or
branches ; that is to fay, a Horizon , a Style? and a Plumb • The Horizon is a Plane de¬
ft gif d upon a Circle, which Circle is to be divided into equal parts mark’d with their
feveral members, and their fubdivifions fet over againft each part : The Style is a
ftreight Ruler, one end whereof is fixt in the center of the faid Circle, the other end
moves about at pleafure, foas that it may beeaftly transfer ’d and directed from enfe
divifion of the Circle to another : The Plumb or Plummet is a line or thread which
falls parallel from the top of the Style down to the Floor or Plane, upon which the
Statue or Figure (lands whofe members and lineatures are to be meafur’d and limi¬
ted ; For the manner of making this Inftrument, let it be thus ; Take a Board well
plan d and fmooth’d, upon which let a Circle be drawn having three Foot diameter,
and let the extremity of the faid Circles circumference be divided into equal parts,
according as Aftrologers divide their Aftrolabes , which parts we will call Degrees ; and
let every of thefe Degrees be fubdivided again into as many other parts as fhall be
thought fit ; as for example, fuppofe every Degree be fubdivided into fix lefler
parts, which we may call Minutes ; to all which degrees adjoyn the feveral numbers,,

viz*

i ; jiof STATVES. ,

vh(. 1. 2. 3 a 4. with the reft in order, till the numbers belonging to all the degrees
be let down. This Circle, thus made and order’d, we call’d the Horizon , to which
we are to fit our moveable Style , being alfo to be made after this manner ; Take a
thin ftreight Ruler, three Foot in length, and faften one of the ends thereof (with a
pegg) to the center of its Horizon or Circle, in fuch a manner, that though the faid
end is not to be mov’d from the Center, yet the pegg that faftens it is fo far to be re¬
lax’d, that the whole Ruler may have liberty to move and play about from one part
of the Circle to another, whileft the other extream extends it felf a good way beyond
the circumference of the faid Circle about which it is to be mov’d : Upon this
Ruler or Style, mark out the Inches it is to contain, diftinguifhing them with feveral
points between, after the manner of the Module or Foot-meafure above mention'd ;
and thefe Inches muftalfobe fubdivided into lefter equal parts, as was likewife done
in the forefaid Foot-meafure ; and then beginning from the Center, adjoyn to the
Inches alfo their feveral numbers, viz. 1.2.3 * 4* Laftly,to this Style annex a
line and Plummet. This whole Inftrument thus deferib’d conliftingof Horizon. ,
Ruler , and Plummet we fball call our Definitor .

Th is Definitor is to be made ufe of in this manner ; Suppofe the Original , or
Copie , the limits of whole parts we would determine, were a Statue of Phidias , holding
with the left hand, on one fide of a Chariot , the Raines of a Horfes Bridle ; This
Definitor is to be fet upon the head of the Statue in fuch fort, that it may lye exa&ly
level upon the plane of the Center, being plac’d juft upon the very midft of the head
of the Statue, where it is to be made faft with a pegg : Then note that point where
it is faftned upon the head of the Statue, and mark it by fetting up a needle or pin
for the Center of the Circle ; Next, by turning the Inftrument about from the de¬
termin’d place in the Horizpnrrmke out the firft defign’d degree, fo as you may know
from whence it is movd ; which may beft be done after this following manner :
Bring about the moveable Ruler, which is the Style, upon which the thread and
Plummet hangs, till it arrive at that place of the Horizon where the firft degree of the
Horizon is to be fet down ; and holding it fall there, turn it about together with the
whole Circle thereof, until the line of the Plummet touch fome principal part of the
Statue, that is to fay, fome member particularly noted above ail the reft, as the Fin¬
ger of the right Hand or fo.

, bf;ofl $i\ - • • . ..

i h (' •

* j * . ' • j ' .

V • Which

1^4 Leon B. Alberti

Which may ferve as the appointed place from whence upon every new occafion
the whole Deftnitor may be mov’d, and afterwards brought back again to the fame
place where it flood at firft upon the faid Statue ; yet fo, that by the turning of the
Style about the Pin, which pierceth from the top of the head of the Statue, through
the Center of the Definitor , the Plummet which before fell from the firft degree of the
Horizon, may return to touch the forefaid Finger of the right Hand. Thefe things
thus order’d anddefign’d, fuppofe that we would take the angle of the right Elbow,
fo as to keep the knowledg of it in mind, or to write it down ; the way is as follow¬
ed : Fix the Vefinitor with its Center which is upon the head of the Statue, in the
place and manner aforefaid, in fuch fort, that the Plane whereon the Horizon is de-
Sign’d, may ftandfirme and immoveable ; then turn about the moveable Style , till
the line of the Plummet come to touch the left Elbow of the Statue which we would
meafure : But in the performing of this fort of Operation there are three things to be
obferv’d, which will much conduce to our purpofe ; The firft is, That we mark how
far the Style in the Horizon comes to be diftant from the place where it fhall have
been firft mov’d, taking notice upon what degree of the Horizon the Sly le lies, whether
on the twentieth, thirtyeth or whatfoever other: Secondly, Obferve by the Inches,
and Minutes mark’d in the Style , how far diftant the Elbow fhall be from the Center

^ of-STAlVES. ,$$

of the Circle : Laftly, take notice by placing the Module or Foot-meafure perpendi¬
cularly upon the Plane whereon the Statue (lands, how many Inches and Minutes the
Paid Elbow is raifed above the faid Plane, and write down thefe meafures in a Book
of piece of paper : For example,, thus, the angle of the left Elbow is found in the Ho¬
rizon to be 10. Degrees and 5. Minutes ; in the Style or Ruler 7. Degrees and 3.
Minutes ; that of the Plane jn the Module amounts to 40. Degrees and 4. Minutes ;
and thus by the fame rule nsiy be meafur’d and computed all the reft of the princi¬
pal parts of the faid Statue or Copy ; as for inftance ; The angles of the Knees, and
of the Shoulders and other fuch like parts that are to be reckoned among the Relievi i
But if you would meafure Concavities, or thofe parts which recede inward, and are
fo remov’d out of the reach of light and eafy accefs, that the Plummd-X\n£ cannot
come to touch them (as it happens in the Concavities beneath the Shoulders, in the
regions of the reins, isrcP) the bed way to find them is as follows : Add to the Style
or Ruler another Plummet- line which may reach as far as the faid Concavitie ; how
far diftant it be from the firil, it is not material, fince by thefe two Plummet-Ymcs
falling perpendicularly, and being interfered by the Gnomon of the plain Superficies
above to which they are faftned, and which extends it felf as far as the Center of the
Statue, it will appear how much the fecond Plummet-Y\m is nearer then the firft to the
Center of the "Dejinitor^ which is therefore call’d the middle perpendicular.

Thefe things thus demonftrated, being once fufficiently underftood, it will be ari
eafy matter to comprehend what we before commended to your Obfervation ; name¬
ly, that if the faid Statue fhould chance to have been cover’d over to a certain thick-
nefs with Wax or Earth, you might yet by a Piercer, with great eafe, readynefs, and
certainty come to find out whatfoever point or tearm you would defire to find in
the faid Statue ; for as much as it may be clearly demonftrated, that by the turning
about of this Gnomon, the Level makes a circular Line like the Superficies of a Cylin¬
der ^ with which fort of figure the Statue fo fuperinduc d as aforefaid, feems to be in-
clofed and incircled : This Pofition eftablifih’d, you may fafely inferr, that as by
making way through the Ayr (the Statue not being cover’d with Wax or Earthy you
guide your Piercer dire&ly towards the Point T. (which for examples fake we will
fuppofe to be the Relievo of the Chin) by the fame reafon, if the Statue were cover'd
over with Wax or Earth, might you by boaring through the faid Wax or Earth attain
the point aim’d at, the Wax or Earth poffeffing but the fame place which otherwift
the Ayr would have done : From what hath been thus difcours’d concerning theft
things, it may be concluded, that the effeft we mention’d before concerning the
making of one half of the Statue in the Ifle of Pharos , and finifhing the other half in
the Mountains of Carrara, is a thing not only not impoflible but very eafy to be per¬
form’d ; For let the faid Statue or Model of Phidias be divided into two fogments,
and fuppofe, for example, this Se&ion of a plain Superficies be made in the Waft or
Girdling place, doubtlefs by the only affiftance of our Definitor it will be eafy to mark
out in the Circle of the Inftrument whatfoever points fhail be thought fit, belonging
to the divided Superficies : Thefe things granted to be feafible, you fhail not need to

Y 2 make

1 5$ Leon B. Al bve --r-t i

make any queftion of being able to find out at pleafure in the Model, any part WiiatT
foever you (ball defire to find ; and that only by drawing a (mail red line in the
Model, which ferves in ftead of an interfe&ion of the Horizon , in the place where this
fegment fhould terminate, if the Statue were divided ; and the points fo mark’d will
direct you the way how the work may be finifhed : And in like manner may other
things be done, as hath been laid before. Finally, by the whole difcourfe here made
concerning all thefe particulars, it is fufficiently evident, that all Meafures, Proporti¬
ons and Limitations are to be taken, whether in the Life, or Copie, by a mod certain
and infallible rule for the bringing of any work to perfe&ion in this Art • and we
could wifih that this way of proceeding were more ferioufly intended by all our
Painters, mdSculptors, {\nce, if it were, they would foon come to find the extraordi¬
nary benefit of it: But becaufe all things are moft illuftrated by example, and that
the paines we have already taken in this matter may conduce to the greater advan¬
tage ; we have thought fit to beftow yet a little farther labour in defcribing the mea¬
fures of all the principal parts in mans Body ^ and not only the parts of this or that
particular man , but as far as was poffible, even the very perfection of all beautiful
and excellent proportions ; the feveral parts whereof having obferv’d in leveral hu¬
mane bodies, fome excelling chiefly in this, fome in that external gift of Nature, we
have thought material to fet down in writing ; following the example of him, who
being imploy’d by the Crotoniati to make the Statue of their Goddefs , went about col¬
lecting from the moft beautiful Virgins (whom, among many, he with great dili¬
gence fearch’d out) thofe proportions and handfome Features wherein each of them
principally excelfd, and apply’d them to his own Statue. Since much after the
fame manner we, having taken the Draught from thofe Bodies, that of divers others
were judg’d, by the moft fagacious in this inquiry, to be the moft exaCtly built and
compos’d, with all their feveral meafures and proportions ; and comparing them
exaClly together, to obferve wherein they excell’d, or were excelfd each by the other,
have made choice out of this variety of models and examples, of thofe middle pro¬
portions which feem’d to us moft agreeable , and which we have here fet down by
the lengths , bigneffes and thickneffes of all the principal and moft noted parts ;
and in the firft place the lengths are thefe following.

The heights from the Ground.

Feet . Degrees . Minutes .

The greateft height from the ground to the Inftup of the Foot, o 3
The height up to the Ankle-bone on the outfide of the Legg. o 2

The height up to the Ankle-bone on the infide of the Legg. o 3

The height up to the recefs which is under the Calf of the Legg. o 8

The height up to the recefs which is under the Relievo of the p

Knee-bone within. f ^

The height up to theMufcle on the outfide of the Knee, 1 7

The height up to the Buttocks and Tefticles. 2 6

The height up to the Os Sacrum, 3 &

o

2

1

S

3

9.

o

The

of'STATVES.

■1 I

The heighc up to the joynt of the Hips. 3

The height up to the Navel. 3

The height up to the Waft. 3

The height up to the Teats and Blade-bone of the Stomack. 4
The height up to that part of the throat where the Weezle- ,
pipe beginneth.0

The height up to the knot of the Neck where the Head is fet on. 5
Th£ height up to the Chin. erlj iognfth fbd^id edi < g

The height up to the Ear. - 5

The height up to the roots of the Haires in the F orehead. 5

The height up to the middle Finger of a Hand that hangs down. 2
The height up to the joynt of the Wrift of the faid Hand. 3
The height up to the joynt of the Elbow of the faid hand. 3
The heightUp to the higheft angle of the Shoulder. $

Feet. Degrees..

1

6

7
3

157

Minutes .

1

o

9

5

1

2

5
9

o

0

6

8

1

o

o

o

o

o

o

5

8

The amplitude or largenejfes of the parts are meafux d from the right, hand to the left .

i i

1 ko

o

o

4

2

o

o

o

o

o

o

o

o

The greateft breadth of the Foot.

The greateft breadth of the Heel.

The breadth of the fulleft part beneath the jettings out of the'

Ankle-bones.

The recefs or falling -in above the Ankles .

The recefs of the mid-legg under theMufcle or Calf

V. la

The greateft thicknefs of the Calf. vj ;

The falling-in under thz Relievo of the Knee-bone. *

The greateft breadth of the Knee-bone.

The falling-in of the Thigh above the Knee. ■

The breadth of the middle or biggeft part of the Thigh
The greateft breadth among the Mufcles of the joynt of the Thigh. 1
The greateft breadth between the two Flanks above the joynts )
of the Thigh. <J

The breadth of the largeft part of the Breaft beneath theArmpits. 1
The breadth of the largeft part between the Shoulders. 1

The breadth of the Neck. o

The breadth between the Cheeks. o

The breadth of the Palm of the Hand. o

€■ ; . ‘ . i , . * * .

The breadth andthicknefs of the Arms , differ according to the fever al motions thereof but
the mojl common are thefe following .

The breadth of the Arm at the Wrift.

The breadth of the brawny part of the Arm under the Elbow 032
The breadth of the brawny part of the Arm above, betv/een the^

Elbow and the Shoulder,

1

2

3

3

4
3

5

1

1

5

o

4

o

o

5

5

5

5

o

5

5

1

o

5

o

o

8

.0

2

3

4

o

The

o

3

o

6

158 Leon B. Al b^etr t i

The thicknefs from the fore-farts to the hinder-farts . Feet. Degrees . Minutes .

The length from the great Toe to the Heel. 1 o o

The thicknefs from the Inftup to the Angle or corner of the Heel, o
The falling-in of the Inftup. r- o

From the falling-in under the Calf to the middle of the Shin, o
The outfide of the Calf of the Legg. o

The outfide of the Pan of the Knee. o

The thicknefs of the biggeft part of the Thigh. o

From the Genitalis to the higheft rifing of the Buttocks.

From the Navel to the Reins.

The thicknefs of the Waft.

From the Teats to the higheft Rifing of the reins of the Back.

From the Wcezlepipe to the knot or joynture of the Neck.

From the Forehead to the hinder part of the Head.

From the Forehead to the hole of the Ear.

The thicknefs of the Arm at the Wrift of the Hand.

The thicknefs of the brawn of the Arm under the Elbow.

The thicknefs of the brawn of the Arm between the Elbow and)
the Shoulder.

j _ _

The greateft thicknefs of the Hand.

The thicknefs of the Shoulders. 024

4

3

3

4

4

6

7

7

6

7

4

6

6

5

o

4

o

o

By means of thefe meafures it may eafily be computed what proportions all the
parts and members of the Body have one by one to the whole length of the Body ;
and what agreement and fymmetric they have among themfelves, as alfo how they
vary or differ one from another ; which things we certainly conclude moft profi¬
table and fit to be known : Nor were it from the purpefe to particularize how the
parts vary and alter, according to the feveral geftures incident to humane Bodies, as,
whether they be Sitting, or Inclining to this, or that fide ; But we (hall leave the
more curious difquifition into thefe things, to the diligence and induftry of our Artifl.
It would alfo be of very much conducement,to be well inform’d of the number of the
Bones, the Mufcles,and rifings of the Nerves ; and efpecially to know how, by certain
rules, to take the circumferences of particular divifions of Bodies, feparately confi-
der’d from the reft, by an infpedion into thofe parts which are not outwardly ex¬
pos’d to fight : In like manner as if a Cylinder fliould be cut down right through
the middle, fo as out of that part of the Cylinder which is vifible throughout, there
fhould be feparated, by a circular fed ion through the whole length of the figure, an
inward confimilar part which was before unfeen, fo as to make of the fame Cylinder
two Bodies, whofe Bafes fhould be alike, and of the fame form, as being indeed
wholly compriz’d within the fame lines and circles throughout : By the obforvation
of which fort of' Sedion is to be underftood the manner of feparation of the parts
and Bodies before intimated ; for as much as the defigne of the line by which the

Figure

of STATVES. .$9

Figure is terminated, and by which the vifible Superficies is to be feparated from
that which lies hid from the fight, is to be drawn juft in the fame manner ; and this
defign being delineated on a Wall, would reprefent fuch a Figure as would be much
like a Shadow proje&ed thereupon fh>m fome interpofing light, and which fhould
Illuminate it from the fame point of the Ayr? where at firft the beholders Eye was
plac’d : But this kind of divifion or feparation, and the wayofdefigning things af¬
ter this manner, belongs more properly to the Fainter then the Sculptor , and in that
capacity we (hall treat of them more largely elfewhere. Moreover, it is of main
concernment to whatfoever perfon would be eminent in this Art, to know how far
each Relievo or Recefs of any member whatfoever is diftant from fome determined
Pofition of Lines*

■ . . wiftO-abuf ha Uarij t m ■ »dT

S) br»

The End.

11

errata,

THe exquifitenefs of this graceful CharaSer , and handfom Graving of the Plates, befides the rarenefs of the Suljefi, will merit of
the Redder that he pardon fome few flips of the 1‘rtfs. As by miltaking Capital tor Capitel, Colcnut for Column, c. s . a. &c. Model
for Modul, c. 17.1 9- Sec. and in fome of the reft •, the moft material being in Epifl to Sr J Den r. reaffumption. ContuiiJUoners. p. 48 .
1. 6. for fixtx. firfl. p. 1 iS. k4o. r. Alberti, p. lot I. j. r. for j vent, p, 1 1 1 . L j 6 r. Vraceptis. p. 1 30. 1. la. r. which for Modul. p. 1 40,
1. 19. r. Pantheon. Ike •

V

Courteous R.e a d er, cr /

■ ' ' ' . ' * • r * . ^ • * . " • ' - . . . • r ? • . *

" ^ , rjJ ^ ' ; " ) , ; ' , » • , ( |

Theje ‘Boolq following are Trinted for John Place, add are to be /old at
his Furnivals-lnn fjatein Holborn. ,

' ; Booths in Folio.

THe Hiflory of: the world, by Sir Walter Raleigh Knightj Athe laft
Edition in the Prefs.

f Bifhop Halls third Tome, with Partners. } 7]

things Neyv and Old , or a (lore- houfe of Slmilies, S ententes, Allego¬
ries, Adagesi ^Apolagift, Divine, Moraltand Political, by Johif;Sftncer
ot Sion Colledg.

Obfervations on Cffars Commentaries, by Sir Clement Edmunds
Knight.

The Reports of the learned Judg Popham, fometimes Lord
chief Jufticeof England.

The Reports of the learned Judg Owen , Chief jufticeof the
Common Pleas.

The Reports and Cafes of Law> by William Leonard, Efquire in
fihree parts* with a compleat Table,

Latch his Reports.

The Reports of Sir John Bridgman Knight, fometime Chief Ju¬
fticeof Chefler.

The Reports of divers Resolutions in Law, Oolle&ed by the
Right Honourable Sir James Ley Knight and Baronet.

Cowells Interpreter of hard Words in the Law, the laft edition.
Maxims of reafon , or the reaion of the Common Law, by Ed -
ttlOttd Wingate Efquire ; late one or the Benchers of Grays- Inn.

Londinopolis, or ati H'ftory o. the Cities o. London and Weflmin-
fer, by fames Howell. ■> -■ K '• .

The Hiftory of Swedest Goihes , and Vandalls-, by Olaus Magnus
Bifhop of Vpfall.

The prefident for llftiftrious Princes, or a Hiftory of the Wars
between tche Houles of York and Lanca(ler,by n>. H. Efquire.

TheMinifter of State, in two Volumes, wherein is (hewed the true
ufe of Policy, by Monfieurde Sit on Secretary to Cardinal Rich lew,
JEnglifhed by Sir Henry Herbert Knight.

EccleSa Re(hturata,or the Rerormation of the Church of England,
by Peter Beylin.

The Hiftory of Italy in it®$ original Glory, Ruin, and Revival,
by Edmund Warcupp Efquire.

Books in ^rge and JhtalL

The Grand Abridgment of the Law 'Continued, by William
Hughes Efquire, in three Volumes.

The Compleat Clerk, containing the heft forms of all forts of
Prefidents, the feeond Edition with many Additions, throughout'
the whole Work, 1664.

Commentaries on the Original Writts, in Natura Brevium, by
William Hughes of Grays- Inn Efquire

Grigories Moot-Book, with Additions, by William Hugbest
Declarations and Pleadings in Englijh, &c. in the Kings Bench,
by William Smalt of Furnivals- Inn.

Regni argument* Confilii , or a CollsSion of Authentick Argu¬
ments, Suaveolent Speeches, and prudent Reafons 5 delivered and
ferioufly debated in Parliament.

The Faithful Councilor, or the Marrow of Law, by William
Sheppard Efquire, the fecond Part.

The Deed fpeakihg, of thp Tivirig man Revived, in a Sermon
Preached at the Funeral of Mr. Samuel Oliver, by Mr.J Chitxsini

The Fldatirig Iflahd, by Dr. Strowd, aftedat OkfPr'i. ’

The Tragedy ojf, the fair "Pjenp,, t?y Gilbert Switthoe Efquire.

ru

Bodks ii oUwvo. v : i

fS . aadn = c nc io g / ... ft q j - rl . -

Book of Entries of all manner of Judgments in the Kings JtancE|
and Common Pleas. !. ]0 p.jj. ; ; /-£

The Grounds and Maxims of the Law, by M. Hawke of the
Middle Temple.

A perfeft guide for a Studious young Lawyer, by Thomas Fid til
of Furnivals - Inn Gent,

The Arraignment of the ^ inalaptifl i in a Difpute at *4lergnvtny
io Monmouthfhire, by John Cragg M. A.

A Cabinet of Jewels, &c. Set forth in eight Sermons, with an
Appendix of the nature of Tithes, and expedience of Marriage
by a lawful Minifter, by John Cragg M. A.

The Royal Prerogative vindicated, to which is Annexed the
Kings Supremacy in all caufes Ecclefiaftical, and Civil, by John
Cragg M. A.

The Country Court inlarged by william Greenwood of Furnivals*
Inn.

Mathidvels Difcourfes, to which is added his Prince, in 1 x.

Rofs his Epitome of Sit Walter Raleigh*s Hiftory of the World,
In ix.

The office and duty of an Evecutor, by Tho. Wentworth.

The Abridgment of the Lord Dyers Reports, by Sir Thomas
Ireland .

Obfervations on the Office of a Lord Chancellor, by the Lord
Elefmere , late Lord Chancellor.

juftice Reftored, ora Guide for his Majefties Juftices of Peace.

Jufticeof Peace his Vade Mecumt together with an Epitome of
Stanfords Pleas of the Crown.

The Lay- mans Lawyer, by Thomas Fofler Gent.

Tranfa&ions of Chancery, eolle&ed by W. Tochell.

Brooks Cafes in Englijh, by J. Mar/h of Grays-Inn Barretter.

Perkins of the Laws of England in Engllfb.

An exaft Abridgment ot Doftor and Student.

Principles of the Law reduced to prafiice, by W. Philips.

Invifible World, and the Miftery of Godlincfs, by JofepbHall ,
Bifhop ot Harwich.

Bifhop HalPs Impofition of hands.

Dr. Treflons Saints Infirmities .

A Treatife of Phlebotomy.

A Sermon Preached at the Funeral of Sir James Penyman, by
„ Allen Smalwood.

A Comment on the rimes, or a Charafier of the Enemies of the
Church of England, by Thomas Wall, M. A.

A Catecbifme containing the Principles of Chriflian Religion,
written by Mofes Wall.

Poems by Matthew Stevenfon.

Clareflella, by R. Heath Efquire.

\

1

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